On 'When I Get Home,' the Multifaceted Solange Steps into Her Power
Solange Stuns at the Greek Theater
Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall
A Seat at Her Table
WIN: Tickets to Solange With Fantastic Negrito at the Starline Social Club
Sponsored
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The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”qYTJZTHAJvWQ1Sqx5zX0jBqcwh5erf4r”]\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>[contextly_sidebar id=”fk0PNUrUjkPDutigRWGEhENWyHaULQ6m”]\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>[contextly_sidebar id=”ShFnV1kWWoMxrgeXFX1y5tu0ct9hpTul”]\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.","status":"publish","parent":0,"modified":1705026515,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1644},"headData":{"title":"Still Tippin': Solange At Home In Houston | KQED","description":"Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Sidney Madden","nprImageAgency":"BlackPlanet.com/Solange","nprStoryId":"700256924","nprApiLink":"http://api.npr.org/query?id=700256924&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/06/700256924/solange-at-home-in-space-city?ft=nprml&f=700256924","nprRetrievedStory":"1","nprPubDate":"Wed, 06 Mar 2019 11:34:00 -0500","nprStoryDate":"Wed, 06 Mar 2019 05:00:00 -0500","nprLastModifiedDate":"Wed, 06 Mar 2019 11:34:32 -0500","path":"/arts/13852392/still-tippin-solange-at-home-in-houston","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\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 \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13852392/still-tippin-solange-at-home-in-houston","authors":["byline_arts_13852392"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_6475","arts_596","arts_1586"],"affiliates":["arts_137"],"featImg":"arts_13852393","label":"arts_137"},"arts_13851901":{"type":"posts","id":"arts_13851901","meta":{"index":"posts_1591205157","site":"arts","id":"13851901","score":null,"sort":[1551470741000]},"guestAuthors":[],"slug":"on-when-i-get-home-an-ever-multifaceted-solange-steps-into-her-power","title":"On 'When I Get Home,' the Multifaceted Solange Steps into Her Power","publishDate":1551470741,"format":"aside","headTitle":"On ‘When I Get Home,’ the Multifaceted Solange Steps into Her Power | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>“I can’t be a singular expression of myself,” Solange whispers on her new album. “There’s too many parts, too many spaces, too many manifestations, too many lines, too many curves, too many troubles, too many journeys, too many mountains, too many rivers.”\u003c/p>\n\u003cp>With pulses of wah-wah pedal guitar almost drowning out her voice, the the 20-second snippet, “Can I Have the Mic (Interlude),” is easy to miss. But it’s the central thesis of \u003cem>When I Get Home\u003c/em> (Columbia Records), a surprise record that the artist officially announced only six hours before it dropped on Friday.\u003c/p>\n\u003cp>Building on the dreamy jazz and soul vibe of her acclaimed 2016 album \u003cem>A Seat at the Table\u003c/em>, and expanding its lyrical themes of black joy, pride and liberation, \u003cem>When I Get Home\u003c/em> shows Solange exacting her vision with a bold confidence. It’s as if she’s no longer afraid of misinterpretation, because she trusts her audience to get it.\u003c/p>\n\u003cp>\u003cem>A Seat at the Table\u003c/em> was a departure from Solange’s more produced pop sound of years past. Reinvention is always risky, but Solange clearly took care to articulate her message in the album’s manifesto-like lyrics (“Don’t Touch My Hair,” “F.U.B.U.,” “Mad”), and deliberately placed snippets of conversation with Master P about black artists taking ownership of—and building wealth from—their cultural production.\u003c/p>\n\u003cp>Resonating with fans and critics alike, those ideas propelled Solange into her in-the-moment, relaxed approach on \u003cem>When I Get Home\u003c/em>, which sees her freer, looser and less guarded with her vocals and compositions. (Despite a roster of stellar collaborators like the Internet’s Steve Lacy, Tyler, the Creator, Standing on the Corner and Pharrell, Solange is credited as the sole lyricist, producer or composer on many of the tracks.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4WF4HvVT7VjGnVjxjoCR6w\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Solange’s passion for and scholarship of black American culture is the connective tissue here for the disparate sounds she mixes into an oozing, honey-like drip: jazz drums, funky bass lines, fluttering keys and feather-light harmonies. On “Down with the Clique,” we hear the influence of Alice Coltrane’s celestial piano playing; “Almeda’s” rickety high-hats recall today’s radio-friendly trap pop as well as the HBCU marching bands that inspired her sister \u003ca href=\"https://www.kqed.org/news/11662453/photos-beyonce-turns-coachella-into-beychella\" target=\"_blank\" rel=\"noopener\">Beyoncé’s Coachella performance\u003c/a>. Sample-wise, the album draws from Mike Jones, Devin the Dude and Scarface, a wink to Solange’s hometown of Houston. Still, Solange’s references to these artists and aesthetics are subtle, and float like buoys in the raw, immediate, neo-soul instrumentation that flows from one track into the next.\u003c/p>\n\u003cp>Nourished by these multitudes of black creative expression from various decades, Solange celebrates her culture, heritage and self with a palpable sense of fun. On “My Skin My Logo,” which features Gucci Mane, her unpolished rapping lapses into giggles mid-verse. “Binz” sees her riffing with improvised harmonies. Her chorus of “ay!”s on “Sound of Rain” turn the pensive, piano-forward track into a twerkable beat, even while its lyrics underscore an enduring thread in Solange’s work: healing through purpose, intention and ritual, and using the groove like an energetic \u003cem>limpia\u003c/em>: “And the sound of rain helps me let go of the pain.”\u003c/p>\n\u003cp>Solange is a pop star and a \u003ca href=\"https://hammer.ucla.edu/solange/\" target=\"_blank\" rel=\"noopener\">performance artist\u003c/a> who’s been embraced by the \u003ca href=\"https://saintheron.com/a-reflection-on-solanges-guggenheim-museum-performance-piece-an-ode-to/\" target=\"_blank\" rel=\"noopener\">upper echelons of the art world\u003c/a>, and she’s fully come into her power by owning her multiplicities and refusing to explain herself to one group or the other. It would be an oversimplification to say that she “elevates” elements of more accessible black popular culture by featuring Playboi Carti on \u003cem>When I Get Home\u003c/em>, or turning the former social networking site \u003ca href=\"http://blackplanet.com/solange/\" target=\"_blank\" rel=\"noopener\">BlackPlanet.com\u003c/a> into an art project. There is no “high” and “low” for Solange. For her, creative expression is sacred.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"With her new album, Solange trusts her audience, and is looser and freer with her expressions of black joy, pride and liberation.","status":"publish","parent":0,"modified":1705026534,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":703},"headData":{"title":"On 'When I Get Home,' the Multifaceted Solange Steps into Her Power | KQED","description":"With her new album, Solange trusts her audience, and is looser and freer with her expressions of black joy, pride and liberation.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13851901/on-when-i-get-home-an-ever-multifaceted-solange-steps-into-her-power","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>“I can’t be a singular expression of myself,” Solange whispers on her new album. “There’s too many parts, too many spaces, too many manifestations, too many lines, too many curves, too many troubles, too many journeys, too many mountains, too many rivers.”\u003c/p>\n\u003cp>With pulses of wah-wah pedal guitar almost drowning out her voice, the the 20-second snippet, “Can I Have the Mic (Interlude),” is easy to miss. But it’s the central thesis of \u003cem>When I Get Home\u003c/em> (Columbia Records), a surprise record that the artist officially announced only six hours before it dropped on Friday.\u003c/p>\n\u003cp>Building on the dreamy jazz and soul vibe of her acclaimed 2016 album \u003cem>A Seat at the Table\u003c/em>, and expanding its lyrical themes of black joy, pride and liberation, \u003cem>When I Get Home\u003c/em> shows Solange exacting her vision with a bold confidence. It’s as if she’s no longer afraid of misinterpretation, because she trusts her audience to get it.\u003c/p>\n\u003cp>\u003cem>A Seat at the Table\u003c/em> was a departure from Solange’s more produced pop sound of years past. Reinvention is always risky, but Solange clearly took care to articulate her message in the album’s manifesto-like lyrics (“Don’t Touch My Hair,” “F.U.B.U.,” “Mad”), and deliberately placed snippets of conversation with Master P about black artists taking ownership of—and building wealth from—their cultural production.\u003c/p>\n\u003cp>Resonating with fans and critics alike, those ideas propelled Solange into her in-the-moment, relaxed approach on \u003cem>When I Get Home\u003c/em>, which sees her freer, looser and less guarded with her vocals and compositions. (Despite a roster of stellar collaborators like the Internet’s Steve Lacy, Tyler, the Creator, Standing on the Corner and Pharrell, Solange is credited as the sole lyricist, producer or composer on many of the tracks.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4WF4HvVT7VjGnVjxjoCR6w\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Solange’s passion for and scholarship of black American culture is the connective tissue here for the disparate sounds she mixes into an oozing, honey-like drip: jazz drums, funky bass lines, fluttering keys and feather-light harmonies. On “Down with the Clique,” we hear the influence of Alice Coltrane’s celestial piano playing; “Almeda’s” rickety high-hats recall today’s radio-friendly trap pop as well as the HBCU marching bands that inspired her sister \u003ca href=\"https://www.kqed.org/news/11662453/photos-beyonce-turns-coachella-into-beychella\" target=\"_blank\" rel=\"noopener\">Beyoncé’s Coachella performance\u003c/a>. Sample-wise, the album draws from Mike Jones, Devin the Dude and Scarface, a wink to Solange’s hometown of Houston. Still, Solange’s references to these artists and aesthetics are subtle, and float like buoys in the raw, immediate, neo-soul instrumentation that flows from one track into the next.\u003c/p>\n\u003cp>Nourished by these multitudes of black creative expression from various decades, Solange celebrates her culture, heritage and self with a palpable sense of fun. On “My Skin My Logo,” which features Gucci Mane, her unpolished rapping lapses into giggles mid-verse. “Binz” sees her riffing with improvised harmonies. Her chorus of “ay!”s on “Sound of Rain” turn the pensive, piano-forward track into a twerkable beat, even while its lyrics underscore an enduring thread in Solange’s work: healing through purpose, intention and ritual, and using the groove like an energetic \u003cem>limpia\u003c/em>: “And the sound of rain helps me let go of the pain.”\u003c/p>\n\u003cp>Solange is a pop star and a \u003ca href=\"https://hammer.ucla.edu/solange/\" target=\"_blank\" rel=\"noopener\">performance artist\u003c/a> who’s been embraced by the \u003ca href=\"https://saintheron.com/a-reflection-on-solanges-guggenheim-museum-performance-piece-an-ode-to/\" target=\"_blank\" rel=\"noopener\">upper echelons of the art world\u003c/a>, and she’s fully come into her power by owning her multiplicities and refusing to explain herself to one group or the other. It would be an oversimplification to say that she “elevates” elements of more accessible black popular culture by featuring Playboi Carti on \u003cem>When I Get Home\u003c/em>, or turning the former social networking site \u003ca href=\"http://blackplanet.com/solange/\" target=\"_blank\" rel=\"noopener\">BlackPlanet.com\u003c/a> into an art project. There is no “high” and “low” for Solange. For her, creative expression is sacred.\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/13851901/on-when-i-get-home-an-ever-multifaceted-solange-steps-into-her-power","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_1586"],"featImg":"arts_13851917","label":"arts"},"arts_13812384":{"type":"posts","id":"arts_13812384","meta":{"index":"posts_1591205157","site":"arts","id":"13812384","score":null,"sort":[1508695032000]},"guestAuthors":[],"slug":"solange-stuns-at-the-greek-theater","title":"Solange Stuns at the Greek Theater","publishDate":1508695032,"format":"image","headTitle":"Solange Stuns at the Greek Theater | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It’s been a year since the release of Solange’s \u003cem>A Seat at the Table\u003c/em>, an album that became a spiritual salve amid the 2016 presidential election and ongoing, Black Lives Matter-led organizing against police brutality. A year later, we’re still inundated with discriminatory policies and tragic news, and \u003cem>A Seat at the Table\u003c/em> is as relevant as it ever was.\u003c/p>\n\u003cp>In promoting the album, Solange was un-abstract about \u003ca href=\"http://www.thefader.com/2016/09/27/solange-new-album-a-seat-at-the-table\" rel=\"noopener\" target=\"_blank\">its thesis\u003c/a>: “a project on identity, empowerment, independence, grief, and healing” — the central identity being the artist’s own, a black woman, mother, sister, and daughter. The critically acclaimed album gave its listeners a source of comfort in the face of hopelessness and articulated racial microaggressions that too often leave us stunned. \u003c/p>\n\u003cp>On Friday, Oct. 20, Solange brought Orion’s Rise, an immersive live experience in support of \u003cem>A Seat at the Table\u003c/em>, to a sold-out audience at the Greek Theater in Berkeley. Most of the audience members were intimately familiar with the album and this rare headlining tour was a chance to experience it publicly and communally. \u003c/p>\n\u003cp>After opening sets from Chassol and Flying Lotus, the Greek Theatre reached full capacity and it was finally time for Solange. Her set arrangement was at once celestial and post-modern. Two large pyramids — likely a reference to the Giza pyramids, \u003ca href=\"https://www.standard.co.uk/lifestyle/esmagazine/solange-knowles-on-family-body-politics-and-her-move-into-art-a3659816.html\" rel=\"noopener\" target=\"_blank\">where she recently found out she was conceived\u003c/a> — bookended steep stairs. An enormous, glowing sphere sat in the middle. Even before Solange’s band had played a single note, the stage was stunning and mesmerizing. A 20-piece orchestra dressed in light grey dripped down either side of the sphere to take their seats on the grand steps. The crowd’s anticipation was audible as they waited for Solange. \u003c/p>\n\u003cfigure id=\"attachment_13812386\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9856-2-800x600.jpg\" alt=\"Solange and her band amplified her music's message with coordinated choreography. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13812386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange and her band amplified her music’s message with coordinated choreography. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bathed in red light, Solange made her entrance from above and walked down the steps with a smile on her face. She began the show with a choral rendition of “Rise,” repeating the titular refrain in escalating tones. This rendition fit the meditative song, which reflects on self-awareness and self-assurance. The night would feature many more viscerally moving elaborations of her music, which her and her band’s movement and choreography amplified. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Solange stood at the center of set wearing the same muted colors as her band. Many times during the night, she and her crew moved in sync with a compelling precision and control. This sonic and visual harmony emphasized a collective performance of her music rather than an individual one, a message also echoed in her album.\u003c/p>\n\u003cp>A few moments of spontaneity broke the synchronization as brassy horns buoyed ebullient moments where Solange danced and twerked around stage freely — a necessary physical catharsis for the heavy subject matter of her album. During “Losing You”, Solange’s danceable break-up record from her 2012 EP, \u003cem>True\u003c/em>, she asked the audience to dance with her and they had happily obliged, becoming a sea of bobbing heads and jumping bodies.\u003c/p>\n\u003cp>Reaching back into her catalogue again, Solange performed the languid ballad “Bad Girls,” also from \u003cem>True\u003c/em>, with an unexpected punk twist. For “Mad,” a powerful song from \u003cem>A Seat at the Table\u003c/em> that affirms black rage, she added a refrain for emphasis. “I’m not, I’m not allowed I be mad. But you are allowed to be mad,” she sang. “And I deserve and you deserve, but I’m not allowed to be mad. And isn’t that sad?”\u003c/p>\n\u003cp>Earlier in the show, Solange paused to acknowledge a recent incident that angered her. “When I ask folks not to touch my hair, and then [expletive] touch my hair!” she explained to the audience. Her comments were in reference to the \u003cem>Evening Standard\u003c/em>, a British weekly magazine that Photoshopped her hair out of a cover photo. In the unaltered version of the photo Solange posted on \u003ca href=\"https://www.instagram.com/p/Bab6yVZhESx/?taken-by=saintrecords\" rel=\"noopener\" target=\"_blank\">Instagram\u003c/a>, she looks regal with a circular braid extending above her head, her ears adorned with oversized, swirling pearl hoops. She captioned it “dtmh @eveningstandardmagazine,” with the acronym for “Don’t Touch My Hair”. The editors reasoned that the edits were for \u003ca href=\"https://www.theguardian.com/music/2017/oct/21/evening-standard-sorry-for-airbrushing-out-solange-knowles-braids\" rel=\"noopener\" target=\"_blank\">“layout purposes”\u003c/a> in an apology to the singer, but it was clear that they hadn’t grasped the song’s message. \u003c/p>\n\u003cp>Solange and her band rushed off stage momentarily but returned for an epilogue, closing the show with “Don’t Touch My Hair,” an anthem of sorts for black women who know too well the feeling of being physically examined by strangers. Oddly enough — as I also witnessed when Solange performed at Outside Lands and FYF — non-black folks sang along even though the song’s lyrics are specific to this experience. It was even odder when non-black audience members sang along to “F.U.B.U.”, a song with the refrain, “This sh-t is for us.” “Don’t be mad if you can’t sing along,” Solange sings, further warning, “Some sh-t you can’t touch.” But, nonetheless, that didn’t detract from the celebratory energy and communal solace that Solange’s show brought the black women in attendance.\u003c/p>\n\u003cp>It felt uncanny that Orion’s Rise arrived at Berkeley’s Greek Theater the same weekend as the peak of the Orionid meteor shower. Solange acknowledged the Orionids when she thanked her fans, adding that it was divine destiny that she’s closing Orion’s Rise on a weekend that meteoroids from Orion radiate across the sky. \u003c/p>\n\u003cp>Felicitous as the timing might have been, it’s not unimaginable that Solange, an artist so intentional and diligent, wouldn’t also forecast the stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Solange performs again on Oct. 22 at the Greek Theater. More info \u003ca href=\"http://apeconcerts.com/events/solange-2/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The 'A Seat at the Table' singer brought her acclaimed album to life in an immersive, audiovisual performance. ","status":"publish","parent":0,"modified":1705029276,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1023},"headData":{"title":"Solange Stuns at the Greek Theater | KQED","description":"The 'A Seat at the Table' singer brought her acclaimed album to life in an immersive, audiovisual performance. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Ruth Gebreyesus","path":"/arts/13812384/solange-stuns-at-the-greek-theater","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a year since the release of Solange’s \u003cem>A Seat at the Table\u003c/em>, an album that became a spiritual salve amid the 2016 presidential election and ongoing, Black Lives Matter-led organizing against police brutality. A year later, we’re still inundated with discriminatory policies and tragic news, and \u003cem>A Seat at the Table\u003c/em> is as relevant as it ever was.\u003c/p>\n\u003cp>In promoting the album, Solange was un-abstract about \u003ca href=\"http://www.thefader.com/2016/09/27/solange-new-album-a-seat-at-the-table\" rel=\"noopener\" target=\"_blank\">its thesis\u003c/a>: “a project on identity, empowerment, independence, grief, and healing” — the central identity being the artist’s own, a black woman, mother, sister, and daughter. The critically acclaimed album gave its listeners a source of comfort in the face of hopelessness and articulated racial microaggressions that too often leave us stunned. \u003c/p>\n\u003cp>On Friday, Oct. 20, Solange brought Orion’s Rise, an immersive live experience in support of \u003cem>A Seat at the Table\u003c/em>, to a sold-out audience at the Greek Theater in Berkeley. Most of the audience members were intimately familiar with the album and this rare headlining tour was a chance to experience it publicly and communally. \u003c/p>\n\u003cp>After opening sets from Chassol and Flying Lotus, the Greek Theatre reached full capacity and it was finally time for Solange. Her set arrangement was at once celestial and post-modern. Two large pyramids — likely a reference to the Giza pyramids, \u003ca href=\"https://www.standard.co.uk/lifestyle/esmagazine/solange-knowles-on-family-body-politics-and-her-move-into-art-a3659816.html\" rel=\"noopener\" target=\"_blank\">where she recently found out she was conceived\u003c/a> — bookended steep stairs. An enormous, glowing sphere sat in the middle. Even before Solange’s band had played a single note, the stage was stunning and mesmerizing. A 20-piece orchestra dressed in light grey dripped down either side of the sphere to take their seats on the grand steps. The crowd’s anticipation was audible as they waited for Solange. \u003c/p>\n\u003cfigure id=\"attachment_13812386\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/IMG_9856-2-800x600.jpg\" alt=\"Solange and her band amplified her music's message with coordinated choreography. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13812386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/IMG_9856-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange and her band amplified her music’s message with coordinated choreography. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bathed in red light, Solange made her entrance from above and walked down the steps with a smile on her face. She began the show with a choral rendition of “Rise,” repeating the titular refrain in escalating tones. This rendition fit the meditative song, which reflects on self-awareness and self-assurance. The night would feature many more viscerally moving elaborations of her music, which her and her band’s movement and choreography amplified. \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>Solange stood at the center of set wearing the same muted colors as her band. Many times during the night, she and her crew moved in sync with a compelling precision and control. This sonic and visual harmony emphasized a collective performance of her music rather than an individual one, a message also echoed in her album.\u003c/p>\n\u003cp>A few moments of spontaneity broke the synchronization as brassy horns buoyed ebullient moments where Solange danced and twerked around stage freely — a necessary physical catharsis for the heavy subject matter of her album. During “Losing You”, Solange’s danceable break-up record from her 2012 EP, \u003cem>True\u003c/em>, she asked the audience to dance with her and they had happily obliged, becoming a sea of bobbing heads and jumping bodies.\u003c/p>\n\u003cp>Reaching back into her catalogue again, Solange performed the languid ballad “Bad Girls,” also from \u003cem>True\u003c/em>, with an unexpected punk twist. For “Mad,” a powerful song from \u003cem>A Seat at the Table\u003c/em> that affirms black rage, she added a refrain for emphasis. “I’m not, I’m not allowed I be mad. But you are allowed to be mad,” she sang. “And I deserve and you deserve, but I’m not allowed to be mad. And isn’t that sad?”\u003c/p>\n\u003cp>Earlier in the show, Solange paused to acknowledge a recent incident that angered her. “When I ask folks not to touch my hair, and then [expletive] touch my hair!” she explained to the audience. Her comments were in reference to the \u003cem>Evening Standard\u003c/em>, a British weekly magazine that Photoshopped her hair out of a cover photo. In the unaltered version of the photo Solange posted on \u003ca href=\"https://www.instagram.com/p/Bab6yVZhESx/?taken-by=saintrecords\" rel=\"noopener\" target=\"_blank\">Instagram\u003c/a>, she looks regal with a circular braid extending above her head, her ears adorned with oversized, swirling pearl hoops. She captioned it “dtmh @eveningstandardmagazine,” with the acronym for “Don’t Touch My Hair”. The editors reasoned that the edits were for \u003ca href=\"https://www.theguardian.com/music/2017/oct/21/evening-standard-sorry-for-airbrushing-out-solange-knowles-braids\" rel=\"noopener\" target=\"_blank\">“layout purposes”\u003c/a> in an apology to the singer, but it was clear that they hadn’t grasped the song’s message. \u003c/p>\n\u003cp>Solange and her band rushed off stage momentarily but returned for an epilogue, closing the show with “Don’t Touch My Hair,” an anthem of sorts for black women who know too well the feeling of being physically examined by strangers. Oddly enough — as I also witnessed when Solange performed at Outside Lands and FYF — non-black folks sang along even though the song’s lyrics are specific to this experience. It was even odder when non-black audience members sang along to “F.U.B.U.”, a song with the refrain, “This sh-t is for us.” “Don’t be mad if you can’t sing along,” Solange sings, further warning, “Some sh-t you can’t touch.” But, nonetheless, that didn’t detract from the celebratory energy and communal solace that Solange’s show brought the black women in attendance.\u003c/p>\n\u003cp>It felt uncanny that Orion’s Rise arrived at Berkeley’s Greek Theater the same weekend as the peak of the Orionid meteor shower. Solange acknowledged the Orionids when she thanked her fans, adding that it was divine destiny that she’s closing Orion’s Rise on a weekend that meteoroids from Orion radiate across the sky. \u003c/p>\n\u003cp>Felicitous as the timing might have been, it’s not unimaginable that Solange, an artist so intentional and diligent, wouldn’t also forecast the stars.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Solange performs again on Oct. 22 at the Greek Theater. More info \u003ca href=\"http://apeconcerts.com/events/solange-2/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812384/solange-stuns-at-the-greek-theater","authors":["byline_arts_13812384"],"categories":["arts_69"],"tags":["arts_1118","arts_596","arts_1586"],"featImg":"arts_13812385","label":"arts"},"arts_13807679":{"type":"posts","id":"arts_13807679","meta":{"index":"posts_1591205157","site":"arts","id":"13807679","score":null,"sort":[1504796403000]},"guestAuthors":[],"slug":"hyphy-j-pop-and-a-west-coast-opera-10-music-events-not-to-miss-this-fall","title":"Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall","publishDate":1504796403,"format":"image","headTitle":"Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Our music editor's recommendations for your concert calendar this fall. ","status":"publish","parent":0,"modified":1705029589,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1372},"headData":{"title":"Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED","description":"Our music editor's recommendations for your concert calendar this fall. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13807679/hyphy-j-pop-and-a-west-coast-opera-10-music-events-not-to-miss-this-fall","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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>\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807679/hyphy-j-pop-and-a-west-coast-opera-10-music-events-not-to-miss-this-fall","authors":["11387"],"categories":["arts_69"],"tags":["arts_15393","arts_1118","arts_2254","arts_1006","arts_831","arts_1420","arts_1677","arts_596","arts_2271","arts_1367","arts_1586","arts_1624"],"featImg":"arts_13807699","label":"arts"},"arts_13807022":{"type":"posts","id":"arts_13807022","meta":{"index":"posts_1591205157","site":"arts","id":"13807022","score":null,"sort":[1504146196000]},"guestAuthors":[],"slug":"solange-greek-theatre","title":"A Seat at Her Table","publishDate":1504146196,"format":"standard","headTitle":"A Seat at Her Table | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Solange Knowles was once best known as Beyoncé’s sister, but her album \u003cem>A Seat at the Table \u003c/em>last year made a number of \u003ca href=\"http://www.npr.org/sections/allsongs/2016/12/08/504578775/stephen-thompsons-top-10-albums-of-2016\" target=\"_blank\" rel=\"noopener noreferrer\">Top 10 lists\u003c/a>, and remains a diehard in-house favorite here at KQED Arts. She brings her low-key soul singing to the Greek Theatre in Berkeley this fall, and you may have to scramble for tickets — at press time, it’s just sold out. Show is on Oct. 20; \u003ca href=\"http://thegreekberkeley.com/events/solange/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTtrnDbOQAU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Solange brings her empowering soul to a sold-out show at the Greek Theatre in Berkeley.","status":"publish","parent":0,"modified":1705029647,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":90},"headData":{"title":"A Seat at Her Table | KQED","description":"Solange brings her empowering soul to a sold-out show at the Greek Theatre in Berkeley.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13807022/solange-greek-theatre","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Solange Knowles was once best known as Beyoncé’s sister, but her album \u003cem>A Seat at the Table \u003c/em>last year made a number of \u003ca href=\"http://www.npr.org/sections/allsongs/2016/12/08/504578775/stephen-thompsons-top-10-albums-of-2016\" target=\"_blank\" rel=\"noopener noreferrer\">Top 10 lists\u003c/a>, and remains a diehard in-house favorite here at KQED Arts. She brings her low-key soul singing to the Greek Theatre in Berkeley this fall, and you may have to scramble for tickets — at press time, it’s just sold out. Show is on Oct. 20; \u003ca href=\"http://thegreekberkeley.com/events/solange/\" target=\"_blank\" rel=\"noopener noreferrer\">details here.\u003c/a>\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/YTtrnDbOQAU'\n title='//www.youtube.com/embed/YTtrnDbOQAU'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13807022/solange-greek-theatre","authors":["32"],"programs":["arts_140"],"categories":["arts_835","arts_76","arts_69"],"tags":["arts_1006","arts_596","arts_1586","arts_626"],"featImg":"arts_13807023","label":"arts_140"},"arts_12478618":{"type":"posts","id":"arts_12478618","meta":{"index":"posts_1591205157","site":"arts","id":"12478618","score":null,"sort":[1481671872000]},"guestAuthors":[],"slug":"win-tickets-to-solange-with-fantastic-negrito-at-the-starline-social-club","title":"WIN: Tickets to Solange With Fantastic Negrito at the Starline Social Club","publishDate":1481671872,"format":"standard","headTitle":"WIN: Tickets to Solange With Fantastic Negrito at the Starline Social Club | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Solange may not have the beyond-A-list-superstardom status that the elder Knowles sister currently enjoys — \u003cem>yet\u003c/em> — but the R&B queen and \u003ca href=\"https://ww2.kqed.org/pop/2016/08/17/solanges-snapchat-is-modern-art-belongs-in-a-museum/\" target=\"_blank\" rel=\"noopener\">Instagram artiste\u003c/a> arguably has something better. An honest, slow-burning journey, her highly anticipated 2016 album \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/11/12/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal/\" target=\"_blank\" rel=\"noopener\">A \u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2016/11/12/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal/\" target=\"_blank\" rel=\"noopener\">Seat at the Table\u003c/a>\u003c/em> is her first to hit No. 1 on the Billboard chart.\u003cem> \u003c/em>It’s a crucial statement about womanhood, black pride, and the intersection of the two; and it’s a record landing on just about every music critic’s best-of-the-year list.\u003c/p>\n\u003cp>But while she’s undoubtedly hot right now, her career is still at the point where she’s clearly in the driver’s seat, meaning she really can do whatever she wants — like perform at a 400-capacity club in Oakland before she’s announced one U.S. date for her 2017 world tour.\u003c/p>\n\u003cp>That’s right: \u003cstrong>Solange will do three songs at the \u003ca href=\"http://www.starlinesocialclub.com/\" target=\"_blank\" rel=\"noopener\">Starline Social Club\u003c/a> this Friday, Dec. 16 as part of GOODFest, a series of five shows around the U.S., each with a different theme and a unique musical lineup, in which the proceeds go to nonprofit organizations. \u003c/strong>\u003c/p>\n\u003cp>The Oakland show’s theme is “equality,” and joining Solange onstage will be hometown favorite \u003ca href=\"https://ww2.kqed.org/arts/2016/07/20/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito,\u003c/a> as well other local artists TBA. Ticket sales will go to two organizations: The New Orleans-based Son of a Saint, which aims to enhance the lives of boys who become fatherless due to their fathers’ incarceration, death or abandonment; and Oakland’s own Ella Baker Center, which supports “the power of black, brown, and poor people to break the cycles of incarceration and poverty.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/goodfest-equality-solange-performs-a-trio-of-songs-fantastic-negrito-opens-tickets-30224092073\" target=\"_blank\" rel=\"noopener\">GOOD is currently releasing 50 tickets a day, so get your clicking finger ready if you want to go that route\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>OR:\u003c/strong> \u003cstrong>Head over to our giveaways page to\u003ca href=\"https://ww2.kqed.org/about/2016/12/13/win-tickets-to-see-solange-and-fantastic-negrito-at-starline-social-club/\" target=\"_blank\" rel=\"noopener\"> win one of two pairs\u003c/a>!\u003c/strong>\u003c/p>\n\u003cp>Either way, hope to see you there. Until then, I’ll be over here listening to “Mad” on repeat — so, pretty much the same as every other day since this album came out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTqNemB6mio\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>Solange performs with Fantastic Negrito, other local artists TBA, at 7:30pm this Friday, Dec. 16 at the \u003ca href=\"http://www.starlinesocialclub.com/\" target=\"_blank\" rel=\"noopener\">Starline Social Club in Oakland\u003c/a>. \u003ca href=\"https://www.eventbrite.com/e/goodfest-equality-solange-performs-a-trio-of-songs-fantastic-negrito-opens-tickets-30224092073\" target=\"_blank\" rel=\"noopener\">Tickets ($35) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The eternally underrated -- and often elusive -- woman behind the year's best slow-burning R&B album performs three songs this Friday, Dec. 16 at GOODFest Oakland. ","status":"publish","parent":0,"modified":1705032216,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":411},"headData":{"title":"WIN: Tickets to Solange With Fantastic Negrito at the Starline Social Club | KQED","description":"The eternally underrated -- and often elusive -- woman behind the year's best slow-burning R&B album performs three songs this Friday, Dec. 16 at GOODFest Oakland. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/12478618/win-tickets-to-solange-with-fantastic-negrito-at-the-starline-social-club","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Solange may not have the beyond-A-list-superstardom status that the elder Knowles sister currently enjoys — \u003cem>yet\u003c/em> — but the R&B queen and \u003ca href=\"https://ww2.kqed.org/pop/2016/08/17/solanges-snapchat-is-modern-art-belongs-in-a-museum/\" target=\"_blank\" rel=\"noopener\">Instagram artiste\u003c/a> arguably has something better. An honest, slow-burning journey, her highly anticipated 2016 album \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/11/12/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal/\" target=\"_blank\" rel=\"noopener\">A \u003c/a>\u003ca href=\"https://ww2.kqed.org/arts/2016/11/12/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal/\" target=\"_blank\" rel=\"noopener\">Seat at the Table\u003c/a>\u003c/em> is her first to hit No. 1 on the Billboard chart.\u003cem> \u003c/em>It’s a crucial statement about womanhood, black pride, and the intersection of the two; and it’s a record landing on just about every music critic’s best-of-the-year list.\u003c/p>\n\u003cp>But while she’s undoubtedly hot right now, her career is still at the point where she’s clearly in the driver’s seat, meaning she really can do whatever she wants — like perform at a 400-capacity club in Oakland before she’s announced one U.S. date for her 2017 world tour.\u003c/p>\n\u003cp>That’s right: \u003cstrong>Solange will do three songs at the \u003ca href=\"http://www.starlinesocialclub.com/\" target=\"_blank\" rel=\"noopener\">Starline Social Club\u003c/a> this Friday, Dec. 16 as part of GOODFest, a series of five shows around the U.S., each with a different theme and a unique musical lineup, in which the proceeds go to nonprofit organizations. \u003c/strong>\u003c/p>\n\u003cp>The Oakland show’s theme is “equality,” and joining Solange onstage will be hometown favorite \u003ca href=\"https://ww2.kqed.org/arts/2016/07/20/oakland-on-the-precipice-a-video-postcard-with-fantastic-negrito/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito,\u003c/a> as well other local artists TBA. Ticket sales will go to two organizations: The New Orleans-based Son of a Saint, which aims to enhance the lives of boys who become fatherless due to their fathers’ incarceration, death or abandonment; and Oakland’s own Ella Baker Center, which supports “the power of black, brown, and poor people to break the cycles of incarceration and poverty.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/goodfest-equality-solange-performs-a-trio-of-songs-fantastic-negrito-opens-tickets-30224092073\" target=\"_blank\" rel=\"noopener\">GOOD is currently releasing 50 tickets a day, so get your clicking finger ready if you want to go that route\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>OR:\u003c/strong> \u003cstrong>Head over to our giveaways page to\u003ca href=\"https://ww2.kqed.org/about/2016/12/13/win-tickets-to-see-solange-and-fantastic-negrito-at-starline-social-club/\" target=\"_blank\" rel=\"noopener\"> win one of two pairs\u003c/a>!\u003c/strong>\u003c/p>\n\u003cp>Either way, hope to see you there. Until then, I’ll be over here listening to “Mad” on repeat — so, pretty much the same as every other day since this album came out.\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/BTqNemB6mio'\n title='//www.youtube.com/embed/BTqNemB6mio'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>Solange performs with Fantastic Negrito, other local artists TBA, at 7:30pm this Friday, Dec. 16 at the \u003ca href=\"http://www.starlinesocialclub.com/\" target=\"_blank\" rel=\"noopener\">Starline Social Club in Oakland\u003c/a>. \u003ca href=\"https://www.eventbrite.com/e/goodfest-equality-solange-performs-a-trio-of-songs-fantastic-negrito-opens-tickets-30224092073\" target=\"_blank\" rel=\"noopener\">Tickets ($35) and more info here. \u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12478618/win-tickets-to-solange-with-fantastic-negrito-at-the-starline-social-club","authors":["7237"],"categories":["arts_69"],"tags":["arts_1588","arts_1118","arts_596","arts_1143","arts_1589","arts_1586"],"featImg":"arts_12478837","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/10/ATC_1400.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.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://ww2.kqed.org/app/uploads/2021/10/BBC_1400.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/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","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://ww2.kqed.org/radio/wp-content/uploads/sites/50/2019/07/commonwealthclub.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. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/Consider-This_3000_V3-copy-scaled-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://ww2.kqed.org/app/uploads/2022/06/forum-logo-900x900tile-1.gif","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. 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No other part of the globe has experienced such dynamic political and social change in recent years.","airtime":"SAT 3am-4am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/insideEurope.jpg","meta":{"site":"news","source":"Deutsche Welle"},"link":"/radio/program/inside-europe","subscribe":{"apple":"https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2","tuneIn":"https://tunein.com/radio/Inside-Europe-p731/","rss":"https://partner.dw.com/xml/podcast_inside-europe"}},"latino-usa":{"id":"latino-usa","title":"Latino USA","airtime":"MON 1am-2am, SUN 6pm-7pm","info":"Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg","officialWebsiteLink":"http://latinousa.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/latino-usa","subscribe":{"npr":"https://rpb3r.app.goo.gl/xtTd","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Latino-USA-p621/","rss":"https://feeds.npr.org/510016/podcast.xml"}},"live-from-here-highlights":{"id":"live-from-here-highlights","title":"Live from Here Highlights","info":"Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. 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Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/Marketplace_1400.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2022/02/mindshift2021-tile-3000x3000-1-scaled-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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