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She's the associate editor at KQED Arts & Culture. She's the recipient of the 2018 Society of Professional Journalists-Northern California award for arts & culture reporting. In 2021, a retrospective of the 2010s she edited and creative directed, Our Turbulent Decade, received the SPJ-NorCal award for web design. Nastia's work has been published in NPR Music, \u003cem>San Francisco Chronicle\u003c/em>, VICE, Paste Magazine, Bandcamp and SF MoMA Open Space. Previously, she served as music editor at \u003cem>East Bay Express\u003c/em> and online editor at \u003cem>Hi-Fructose Magazine\u003c/em>. She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1591205172","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is the host of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em>\u003c/a> on KQED-FM, a columnist at KQED Arts, and the author of \u003ci>OG Told Me,\u003c/i> a memoir about growing up in Oakland.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"},"jsorapuru":{"type":"authors","id":"11792","meta":{"index":"authors_1591205172","id":"11792","found":true},"name":"Julian E.J. Sorapuru","firstName":"Julian","lastName":"Sorapuru","slug":"jsorapuru","email":"jsorapuru@kqed.org","display_author_email":true,"staff_mastheads":[],"title":"Arts & Culture Reporter","bio":"Julian E.J. Sorapuru is an Arts & Culture Intern at KQED. Prior to joining KQED Arts, he interned at both POLITICO, covering transportation policy, and \u003cem>The Times-Picayune\u003c/em>, covering government and politics in his hometown of New Orleans, LA. Julian was the first and only Black male Editor-in-Chief in the 119 year history of the University of San Francisco's student newspaper, the\u003cem> San Francisco Foghorn\u003c/em>. He currently resides in San Francisco, CA and enjoys soccer, photography, and reading.","avatar":"https://secure.gravatar.com/avatar/e4d0156d1244f96b87927aa011d794a8?s=600&d=blank&r=g","twitter":"JulianSorapuru","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]}],"headData":{"title":"Julian E.J. Sorapuru | KQED","description":"Arts & Culture Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/e4d0156d1244f96b87927aa011d794a8?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/e4d0156d1244f96b87927aa011d794a8?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jsorapuru"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13909846":{"type":"posts","id":"arts_13909846","meta":{"index":"posts_1591205157","site":"arts","id":"13909846","score":null,"sort":[1646082297000]},"guestAuthors":[],"slug":"noise-pop-2022-photos-azealia-banks-arooj-aftab","title":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","publishDate":1646082297,"format":"standard","headTitle":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Last week, Feb. 21–27, \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> returned from its pandemic hiatus, and audiences showed up hungry, with an omnivorous appetite for new sounds. They filled up major concert halls like The Warfield, and packed out small clubs like Bottom of the Hill and the New Parish. Throughout the week, there was an eagerness to take in what the artists had to offer, whether they were big-name headliners like Jeff Tweedy, Dorian Electra, King Woman and Azealia Banks or the dozens of up-and-coming acts that dotted the bill. Here are the moments that stood out.\u003c/p>\n\u003cfigure id=\"attachment_13909695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9551.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area for Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Arooj Aftab\u003c/h2>\n\u003cp>\u003cb>Gray Area, San Francisco\u003cbr>\nFeb. 22\u003c/b>\u003cbr>\nYou didn’t have to speak Urdu to have a profound experience at \u003ca href=\"https://www.aroojaftabmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>’s set at Gray Area—her voice is that transcendent. For a brief, drizzly evening, the Brooklyn-based Pakistani singer brought us together on a spiritual frequency in the nearly pitch-dark Mission district theater.\u003c/p>\n\u003cp>Aftab took the stage under dim, red lights with a harpist and a nylon-string guitarist. When she unleashed her crystal-clear voice, she transported the audience into the depths of sorrow and buoyed us back up again with hope. And with her unexpectedly dry humor between songs, she also cracked us up.\u003c/p>\n\u003cfigure id=\"attachment_13909689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab backstage at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s sad, but it’s supposed to be sexy-sad, you know,” she remarked after one particularly powerful track, sipping from a coffee mug of red wine. Commenting on her Grammy nominations for best new artist and best global music performance, Aftab joked about the award show being postponed to April: “They gave me more time to stay a nominee instead of a loser, which is why I’m telling you guys.” Self-deprecation aside, though, if she does get the accolade, her impeccable Noise Pop set proved it’ll be well deserved.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9639.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-768x495.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes performs at The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler Holmes, Irreversible Entanglements and Moor Mother\u003c/h2>\n\u003cp>\u003cb>The New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003cbr>\nThose present at The New Parish on Feb. 23 went on a couple sonic journeys. The first was led by Oakland-based opener \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a>, whose dynamic set included an unexpected, masterful cover of “We Belong Together” by Mariah Carey. Holmes turned it into a haunting yet danceable soundscape, reminiscent of what one might hear at a nightclub for monsters. The set took the audience on a trip through the vulnerability and complications of love without shying away from the weirdness of it all, too.\u003c/p>\n\u003cfigure id=\"attachment_13909732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9699.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moor Mother headlines The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Afrofuturist experimental jazz band \u003ca href=\"https://www.irreversibleentanglements.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Irreversible Entanglement\u003c/a>’s hour-long, nonstop marathon of a performance. Frontwoman \u003ca href=\"https://www.moormother.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Moor Mother\u003c/a>’s spoken-word lyrics took listeners on an adventure through space-time: “Who will survive the cosmos? Will I see you tomorrow?” With its unpredictable, shifting tempos, the sound was both primordial and post-apocalyptic.\u003cem>—Julian Sorapuru\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9808.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits singer-songwriter Meg Duffy backstage at The Chapel at Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hand Habits\u003c/h2>\n\u003cp>\u003cb>The Chapel, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003cbr>\nThe Chapel was blessed by Meg Duffy’s guitar playing as \u003ca href=\"https://www.handhabits.band/\" target=\"_blank\" rel=\"noopener noreferrer\">Hand Habits\u003c/a> commanded the space, bouncing well-constructed melodies off The Chapel’s tall ceiling. The Los Angeles-based band had the kind of performance you could get lost in. It was as if each member of Hand Habits was physically connected to their instrument of choice, putting their bodies into every note they played. Duffy indulged the audience with a full range of their skill. Their fingers danced vigorously on the strings of multiple guitars throughout the night, like a master painter switching between thick and thin brushes. Accentuated by controlled percussion and an assured bass guitar, Hand Habits tapped into an intersection between sensitivity and string-shredding that engrossed their audience.\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0208.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits headlines The Chapel at Noise Pop Music and Art Festival on Friday Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0335.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Papercuts headlines Bottom of the Hill during night six of the Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Papercuts\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 26\u003c/b>\u003cbr>\nAt a venue still decorated with hearts and roses for Valentine’s Day, \u003ca href=\"https://www.papercutsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Papercuts\u003c/a> played soft guitar pop that evoked the wonder of love. The San Francisco outfit’s music has a dreamlike quality, with stripped-down percussion and wistful vocals imbued with nostalgia. Their performance sounded like what taking an end-of-summer road trip to the beach feels like. After each song in their set, almost before the audience could get their applause out, frontman Jason Robert Quever uttered a very soft and humble “thank you” to the Noise Pop attendees. The crowd had such an appreciation for the hometown band that shouts of “Encore!” rang out at the end of the night. Quever obliged with a solo performance of his moody track, “You Can Have What You Want.”\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0414.jpg\" alt=\"Man in denim shirt and baseball cap plays guitar on stage\" width=\"800\" height=\"533\" class=\"size-full wp-image-13909831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines Bottom of the Hill during night seven of the Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tommy Guerrero\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\n\u003ca href=\"http://www.tommyguerrero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> looked completely zen on stage at Bottom of the Hill on Sunday even though he was playing some pretty complicated riffs on his guitar—often with his eyes closed. His meditative demeanor wasn’t too dissimilar from the relaxed approach to skateboarding that made him famous in the ’80s. His entirely instrumental set brought the perfect sunny mood on the closing day of Noise Pop. Accompanied by the steady grooves of Matt Rodriguez on congas and percussion, Josh Lippi on bass and Louie Senor on drums, Guerrero played surf rock licks with a Latin jazz backbeat. “You never know what’s gonna happen,” he told his packed hometown crowd, which included his teenage son and lots of other rocker dads and their offspring. “It’s like how I grew up skateboarding in the streets of the city, almost getting run over by everything possible—but just fucking pulling it, barely. That’s how I tend to play music. That’s why you gotta have a badass band.”\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909837\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0561.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bali Baby performs at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bali Baby and Azealia Banks\u003c/h2>\n\u003cp>\u003cb>The Warfield\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\nAlthough most of the audience was there to see headliner Azealia Banks, opener \u003ca href=\"https://www.instagram.com/balionabeat/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bali Baby\u003c/a> deserves more than an honorable mention. In her fuchsia wig and teeny-tiny mini skirt (think real-life Bratz doll), Bali brought an instantly fun mood when she and her squad started bouncing all over the stage. Ladies and gentlethems were twerking; someone was wearing a bunny mascot head; hype men were working the crowd in neon balaclavas. Bali was leading the whole procession like a trap Alice in Wonderland from Atlanta. She was an absolute delight, and probably ended the night with a few hundred new fans.\u003c/p>\n\u003cfigure id=\"attachment_13909842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0788.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/azealiabanks/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a> emerged looking ethereal and regal in a pink velvet leotard and matching gloves, with visuals of a moon reflected in water lighting her path. In another life, Banks might have been a Broadway star. She has a flare for \u003cem>drama\u003c/em> in all its forms—both in the way she lives in the public eye, and the way she performs. She belted, she freestyled, she sang and rapped in Spanish. And with a live drummer and three-piece brass section, she turned the party up.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0895.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0667.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Steinbrink performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0327.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chime School performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0295.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April Magazine performs at Bottom of the Hill during Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0119.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorian Electra performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0072.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements and Moor Mother perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9684.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9605.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9502.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ouri performs at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9812.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Tour performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Music lovers showed up to concert halls across the Bay Area with an omnivorous appetite for new sounds.","status":"publish","parent":0,"modified":1705007151,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1631},"headData":{"title":"Noise Pop 2022 in Photos: Azaelia Banks, Arooj Aftab and More | KQED","description":"Music lovers showed up to concert halls across the Bay Area with an omnivorous appetite for new sounds.","ogTitle":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","ogDescription":"","ogImgId":"","twTitle":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","twDescription":"","twImgId":"","socialTitle":"Noise Pop 2022 in Photos: Azaelia Banks, Arooj Aftab and More %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Photos: A Memorable Return for Noise Pop with Azealia Banks, Arooj Aftab and More","datePublished":"2022-02-28T21:04:57.000Z","dateModified":"2024-01-11T21:05:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909846/noise-pop-2022-photos-azealia-banks-arooj-aftab","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Feb. 21–27, \u003ca href=\"https://noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> returned from its pandemic hiatus, and audiences showed up hungry, with an omnivorous appetite for new sounds. They filled up major concert halls like The Warfield, and packed out small clubs like Bottom of the Hill and the New Parish. Throughout the week, there was an eagerness to take in what the artists had to offer, whether they were big-name headliners like Jeff Tweedy, Dorian Electra, King Woman and Azealia Banks or the dozens of up-and-coming acts that dotted the bill. Here are the moments that stood out.\u003c/p>\n\u003cfigure id=\"attachment_13909695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9551.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9551-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area for Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Arooj Aftab\u003c/h2>\n\u003cp>\u003cb>Gray Area, San Francisco\u003cbr>\nFeb. 22\u003c/b>\u003cbr>\nYou didn’t have to speak Urdu to have a profound experience at \u003ca href=\"https://www.aroojaftabmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>’s set at Gray Area—her voice is that transcendent. For a brief, drizzly evening, the Brooklyn-based Pakistani singer brought us together on a spiritual frequency in the nearly pitch-dark Mission district theater.\u003c/p>\n\u003cp>Aftab took the stage under dim, red lights with a harpist and a nylon-string guitarist. When she unleashed her crystal-clear voice, she transported the audience into the depths of sorrow and buoyed us back up again with hope. And with her unexpectedly dry humor between songs, she also cracked us up.\u003c/p>\n\u003cfigure id=\"attachment_13909689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9479.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9479-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab backstage at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s sad, but it’s supposed to be sexy-sad, you know,” she remarked after one particularly powerful track, sipping from a coffee mug of red wine. Commenting on her Grammy nominations for best new artist and best global music performance, Aftab joked about the award show being postponed to April: “They gave me more time to stay a nominee instead of a loser, which is why I’m telling you guys.” Self-deprecation aside, though, if she does get the accolade, her impeccable Noise Pop set proved it’ll be well deserved.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9639.jpg\" alt=\"\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9639-768x495.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes performs at The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler Holmes, Irreversible Entanglements and Moor Mother\u003c/h2>\n\u003cp>\u003cb>The New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003cbr>\nThose present at The New Parish on Feb. 23 went on a couple sonic journeys. The first was led by Oakland-based opener \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a>, whose dynamic set included an unexpected, masterful cover of “We Belong Together” by Mariah Carey. Holmes turned it into a haunting yet danceable soundscape, reminiscent of what one might hear at a nightclub for monsters. The set took the audience on a trip through the vulnerability and complications of love without shying away from the weirdness of it all, too.\u003c/p>\n\u003cfigure id=\"attachment_13909732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9699.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9699-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moor Mother headlines The New Parish during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Afrofuturist experimental jazz band \u003ca href=\"https://www.irreversibleentanglements.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Irreversible Entanglement\u003c/a>’s hour-long, nonstop marathon of a performance. Frontwoman \u003ca href=\"https://www.moormother.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Moor Mother\u003c/a>’s spoken-word lyrics took listeners on an adventure through space-time: “Who will survive the cosmos? Will I see you tomorrow?” With its unpredictable, shifting tempos, the sound was both primordial and post-apocalyptic.\u003cem>—Julian Sorapuru\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909814\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9808.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits singer-songwriter Meg Duffy backstage at The Chapel at Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hand Habits\u003c/h2>\n\u003cp>\u003cb>The Chapel, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003cbr>\nThe Chapel was blessed by Meg Duffy’s guitar playing as \u003ca href=\"https://www.handhabits.band/\" target=\"_blank\" rel=\"noopener noreferrer\">Hand Habits\u003c/a> commanded the space, bouncing well-constructed melodies off The Chapel’s tall ceiling. The Los Angeles-based band had the kind of performance you could get lost in. It was as if each member of Hand Habits was physically connected to their instrument of choice, putting their bodies into every note they played. Duffy indulged the audience with a full range of their skill. Their fingers danced vigorously on the strings of multiple guitars throughout the night, like a master painter switching between thick and thin brushes. Accentuated by controlled percussion and an assured bass guitar, Hand Habits tapped into an intersection between sensitivity and string-shredding that engrossed their audience.\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0208.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0208-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hand Habits headlines The Chapel at Noise Pop Music and Art Festival on Friday Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909826\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0335.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0335-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Papercuts headlines Bottom of the Hill during night six of the Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Papercuts\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 26\u003c/b>\u003cbr>\nAt a venue still decorated with hearts and roses for Valentine’s Day, \u003ca href=\"https://www.papercutsmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Papercuts\u003c/a> played soft guitar pop that evoked the wonder of love. The San Francisco outfit’s music has a dreamlike quality, with stripped-down percussion and wistful vocals imbued with nostalgia. Their performance sounded like what taking an end-of-summer road trip to the beach feels like. After each song in their set, almost before the audience could get their applause out, frontman Jason Robert Quever uttered a very soft and humble “thank you” to the Noise Pop attendees. The crowd had such an appreciation for the hometown band that shouts of “Encore!” rang out at the end of the night. Quever obliged with a solo performance of his moody track, “You Can Have What You Want.”\u003cem>—J.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0414.jpg\" alt=\"Man in denim shirt and baseball cap plays guitar on stage\" width=\"800\" height=\"533\" class=\"size-full wp-image-13909831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0414-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tommy Guerrero headlines Bottom of the Hill during night seven of the Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tommy Guerrero\u003c/h2>\n\u003cp>\u003cb>Bottom of the Hill, San Francisco\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\n\u003ca href=\"http://www.tommyguerrero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> looked completely zen on stage at Bottom of the Hill on Sunday even though he was playing some pretty complicated riffs on his guitar—often with his eyes closed. His meditative demeanor wasn’t too dissimilar from the relaxed approach to skateboarding that made him famous in the ’80s. His entirely instrumental set brought the perfect sunny mood on the closing day of Noise Pop. Accompanied by the steady grooves of Matt Rodriguez on congas and percussion, Josh Lippi on bass and Louie Senor on drums, Guerrero played surf rock licks with a Latin jazz backbeat. “You never know what’s gonna happen,” he told his packed hometown crowd, which included his teenage son and lots of other rocker dads and their offspring. “It’s like how I grew up skateboarding in the streets of the city, almost getting run over by everything possible—but just fucking pulling it, barely. That’s how I tend to play music. That’s why you gotta have a badass band.”\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909837\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0561.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0561-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bali Baby performs at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bali Baby and Azealia Banks\u003c/h2>\n\u003cp>\u003cb>The Warfield\u003cbr>\nFeb. 27\u003c/b>\u003cbr>\nAlthough most of the audience was there to see headliner Azealia Banks, opener \u003ca href=\"https://www.instagram.com/balionabeat/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bali Baby\u003c/a> deserves more than an honorable mention. In her fuchsia wig and teeny-tiny mini skirt (think real-life Bratz doll), Bali brought an instantly fun mood when she and her squad started bouncing all over the stage. Ladies and gentlethems were twerking; someone was wearing a bunny mascot head; hype men were working the crowd in neon balaclavas. Bali was leading the whole procession like a trap Alice in Wonderland from Atlanta. She was an absolute delight, and probably ended the night with a few hundred new fans.\u003c/p>\n\u003cfigure id=\"attachment_13909842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909842\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0788.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0788-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/azealiabanks/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a> emerged looking ethereal and regal in a pink velvet leotard and matching gloves, with visuals of a moon reflected in water lighting her path. In another life, Banks might have been a Broadway star. She has a flare for \u003cem>drama\u003c/em> in all its forms—both in the way she lives in the public eye, and the way she performs. She belted, she freestyled, she sang and rapped in Spanish. And with a live drummer and three-piece brass section, she turned the party up.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13909844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0895.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0895-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azealia Banks headlines The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909840\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0667.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0667-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Warfield at Noise Pop Music and Art Festival on Sunday, Feb. 27, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0273.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0273-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Steinbrink performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909825\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0327.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0327-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chime School performs at Bottom of the Hill at Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909820\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909820\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0295.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0295-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April Magazine performs at Bottom of the Hill during Noise Pop Music and Art Festival on Saturday, Feb. 26, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0119.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0119-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dorian Electra performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A0072.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A0072-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements and Moor Mother perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9684.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9684-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irreversible Entanglements perform at The New Parish during Noise Pop Music and Art Festival on Wednesday, Feb. 23, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9605.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9605-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arooj Aftab headlines Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9502.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9502-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ouri performs at Gray Area during Noise Pop Music and Art Festival on Tuesday, Feb. 22, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13909815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909815\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9812.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9812-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Tour performs at August Hall during Noise Pop Music and Art Festival on Friday, Feb. 25, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\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/13909846/noise-pop-2022-photos-azealia-banks-arooj-aftab","authors":["11387","11792"],"categories":["arts_1"],"tags":["arts_10278","arts_1694","arts_1022","arts_3139"],"featImg":"arts_13909845","label":"arts"},"arts_13909587":{"type":"posts","id":"arts_13909587","meta":{"index":"posts_1591205157","site":"arts","id":"13909587","score":null,"sort":[1645213583000]},"guestAuthors":[],"slug":"noise-pop-2022-preview-guide","title":"6 Artists You Shouldn't Miss At Noise Pop 2022","publishDate":1645213583,"format":"standard","headTitle":"6 Artists You Shouldn’t Miss At Noise Pop 2022 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\u003c/p>\n\u003cp>https://youtu.be/TgGWi6xXVm8\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\u003c/p>\n\u003cp>https://youtu.be/ckQsqGYfTYc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\u003c/p>\n\u003cp>https://youtu.be/IFR6kGytCsI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\u003c/p>\n\u003cp>https://youtu.be/N2HzhXNi4mc\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\u003c/p>\n\u003cp>https://youtu.be/BDb1oTfcmCI\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n","blocks":[],"excerpt":"With headliners Jeff Tweedy and Azealia Banks, this year's festival features a stacked, eclectic lineup.","status":"publish","parent":0,"modified":1705007172,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1087},"headData":{"title":"6 Artists You Shouldn't Miss At Noise Pop 2022 | KQED","description":"With headliners Jeff Tweedy and Azealia Banks, this year's festival features a stacked, eclectic lineup.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"6 Artists You Shouldn't Miss At Noise Pop 2022","datePublished":"2022-02-18T19:46:23.000Z","dateModified":"2024-01-11T21:06:12.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13909587/noise-pop-2022-preview-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Thursday’s \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> kickoff party at the California Academy of Sciences, an eager, standing-room crowd gathered around \u003ca href=\"https://kamaalwilliams.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaal Williams\u003c/a> as he jammed out on his vintage Rhodes piano with his quartet. This wasn’t the sort of jazz you normally see in a theater—it felt raw and alive. West Oakland battle rapper \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nan Fiero\u003c/a> joined them for a song, freestyling on stage with his eyes closed (he said he’d only found out about the gig at 1am the night before).\u003c/p>\n\u003cp>If the upbeat energy was indicative of anything, it’s that Bay Area music lovers have a lot to look forward to at the week-long Noise Pop festival, which gets underway Feb. 21–27 at a variety of venues both large and small in San Francisco and Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13909601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/D7A9361.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/D7A9361-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaal Williams performs at the NightLife pre-party for the Noise Pop Music and Arts Festival on Tuesday, Feb. 17, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Noise Pop, which started off as an indie rock festival in 1993, has in recent years steadily expanded its purview to include hip-hop and electronic music. This year, the lineup is even more eclectic: some of the big names include Wilco frontman \u003ca href=\"https://concerts.livenation.com/jeff-tweedy-san-francisco-california-01-06-2022/event/1C005B512D797BCF?irgwc=1&clickid=Q-7Q9Ey8PxyIUPkzIH1IWSTvUkGRi5SNuXMFRQ0&camefrom=CFC_BUYAT_253185&impradid=253185&REFERRAL_ID=tmfeedbuyat253185&wt.mc_id=aff_BUYAT_253185&utm_source=253185-DoStuff%20Media&impradname=DoStuff%20Media&utm_medium=affiliate\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Tweedy\u003c/a>, skateboarding icon-turned-psychedelic guitarist \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10360\" target=\"_blank\" rel=\"noopener noreferrer\">Tommy Guerrero\u003c/a> and ever-controversial rapper \u003ca href=\"https://www.eventbrite.com/e/azealia-banks-tickets-240696629097\" target=\"_blank\" rel=\"noopener noreferrer\">Azealia Banks\u003c/a>. There are international acts like classical Sufi singer \u003ca href=\"https://grayarea.org/event/noise-pop-presents-arooj-aftab/\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>; a first-time partnership with SFJAZZ; and a lot more queer-centric events, like the \u003ca href=\"http://events.noisepop.com/events/2022/2/26/vtss-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">HE.SHE.THEY dance party\u003c/a> with DJs VTSS, LSDXOXO, Club Chai’s Lara Sarkissian and more.\u003c/p>\n\u003cp>Noise Pop always brings an opportunity to fall in love with new music. Below you’ll find our recommendations of artists not to miss.\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/TgGWi6xXVm8'\n title='//www.youtube.com/embed/TgGWi6xXVm8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/22/topaz-jones-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Swish and Ozer\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 22\u003c/b>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.topazjones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Topaz Jones\u003c/a> is more than a talented hip-hop artist—he’s well on his way to becoming an auteur. Along with his 2021 album \u003ci>Don’t Go Tellin’ Your Momma\u003c/i>, he co-directed a short film of the same name which won a Sundance Award and got a wide release via \u003ci>The New York Times\u003c/i>. Inspired by the \u003ca href=\"https://abc7chicago.com/gallery-black-abcs-50th-anniversary-abc-s-is-for-soul-sister/5895869/\" target=\"_blank\" rel=\"noopener noreferrer\">Black ABCs flashcards\u003c/a> two teachers developed in Chicago in the ’70s, the film uses the alphabet as a storytelling device that stitches together vignettes about Black family life, educational pursuits, activism, artistry and friendships. In Topaz Jones’ world, C is for code switching and V is for valuable. It’s perfect for the modern-day, TikTok-addled attention span, but that doesn’t mean it lacks substance or soul. If anything, it proves that Jones’ ingenuity deserves a lot more recognition.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3194111502/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/23/moor-mother-irreversible-entanglements-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Homes\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>Opening for Moor Mother and Irreversible Entanglements\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 23\u003c/b>\u003c/em>\u003c/p>\n\u003cp>Before the term “hyperpop” entered mainstream vocabulary, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/nightmare-in-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> was singing and rapping over their self-produced chaotic, glitchy beats and industrial noise. But over the past couple of years, the artist has leaned into their singer-songwriter side. Their 2021 album, \u003ci>Nightmare in Paradise\u003c/i>, gives space for processing trauma with stripped-down tracks that combine gorgeous acoustic guitars, cellos and woodwinds, delicate singing and experimental electronics. Holmes wrote it in the aftermath of caring for a friend who was shot and survived a random attack while they were together on tour in Puerto Rico. Ever the one to make beauty from tragedy, Holmes makes space for our collective grief.\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/ckQsqGYfTYc'\n title='//www.youtube.com/embed/ckQsqGYfTYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/king-woman-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cb>With Spiritual Cramp and Provoker\u003cbr>\nDNA Lounge, San Francisco\u003cbr>\nFeb. 25\u003c/b>\u003c/em>\u003c/p>\n\u003cp>There’s something special about the way Kris Esfandiari’s droning voice can lull you into a peaceful daydream one minute and break you open with rage and catharsis the next. The frontwoman of the Oakland doom metal outfit \u003ca href=\"https://kingwoman.bandcamp.com/album/celestial-blues\" target=\"_blank\" rel=\"noopener noreferrer\">King Woman\u003c/a> is one of the most compelling artists of her genre. Her earlier work was rooted in processing a religious upbringing she’s described as “cult”-like, and on King Woman’s 2021 album, \u003ci>Celestial Blues\u003c/i>, she leans on Biblical archetypes to create a gothic drama of her own design. Esfandiari’s involvement with scenes and creative communities outside of metal means that her work isn’t just relegated to one niche. She last performed at Bottom of the Hill at Noise Pop 2019 with her other project, Miserable, and with King Woman, she’s taking the helm of a much larger stage at DNA Lounge.\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/IFR6kGytCsI'\n title='//www.youtube.com/embed/IFR6kGytCsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/makaya-mccraven-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Makaya McCraven\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Cheflee\u003cbr>\nThe New Parish, Oakland\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>In some circles, jazz and hip-hop are in constant dialogue, and Chicago drummer, producer and “beat scientist” Makaya McCraven is one of the conduits of that creative conversation. McCraven looks into the past and future to create new possibilities: just look at his last album, \u003ci>Deciphering the Message\u003c/i>, where—like a true crate digger in the tradition of J Dilla—he mines the legendary Blue Note Records catalog for interesting sounds that came out before the 1960s, blending them with modern recordings by top-tier instrumentalists in his band and blurring the lines of time and space in the process.\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/N2HzhXNi4mc'\n title='//www.youtube.com/embed/N2HzhXNi4mc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/valerie-troutt-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Valerie Troutt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>Joe Henderson Lab at SFJAZZ Center, San Francisco\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Valerie Troutt’s big, gorgeous voice and high-energy house beats come together with divine synergy: together they can move your body and your mind towards a brief moment of spiritual enlightenment on the dance floor. The Oakland singer brings gospel-trained skill to the microphone, and she uses her voice with powerful intention. In addition to self-producing and writing her music, she’s a longtime community activist who uses music a source of healing and strength, particularly for Black women.\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/BDb1oTfcmCI'\n title='//www.youtube.com/embed/BDb1oTfcmCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"http://events.noisepop.com/events/2022/2/25/dorian-electra-my-agenda-world-tour-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Dorian Electra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003cstrong>With Lil Mariko and Death Tour\u003cbr>\nAugust Hall\u003cbr>\nFeb. 25\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dorian Electra won me over with the music video for “Flamboyant,” a personal manifesto of living life with panache. Instead of playing it cool, Electra commits to every experiment and every over-the-top fashion look. That willingness to be weird and sense of humor have earned the genderfluid artist a growing acclaim. On their debut album, \u003cem>My Agenda\u003c/em>, they poke fun at different types of masculine roles and tropes. It’s entertaining, it’s sexual—the opposite of subtle, which is why Electra’s listeners come back for more.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13909587/noise-pop-2022-preview-guide","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_1420","arts_1694","arts_1022","arts_585","arts_3139"],"featImg":"arts_13909624","label":"arts_140"},"arts_13894289":{"type":"posts","id":"arts_13894289","meta":{"index":"posts_1591205157","site":"arts","id":"13894289","score":null,"sort":[1616178153000]},"guestAuthors":[],"slug":"pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more","title":"Pass the Aux: New Tracks by Kiyomi, Beeda Weeda, Tyler Holmes, Kelly McFarling and More","publishDate":1616178153,"format":"standard","headTitle":"Pass the Aux: New Tracks by Kiyomi, Beeda Weeda, Tyler Holmes, Kelly McFarling and More | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VW12P46SyZI\u003c/p>\n\u003ch2>Kiyomi, “Vintage”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/officialkiyomi\" target=\"_blank\" rel=\"noopener noreferrer\">Kiyomi\u003c/a>, an R&B vocalist from Union City who turned heads when she started uploading covers of popular songs as a teenager, is back with a new single. Just this week she dropped the video to “Vintage,” a follow up to her Valentines Day release, “\u003ca href=\"https://www.youtube.com/watch?v=vJnDmaPVvuY\" target=\"_blank\" rel=\"noopener noreferrer\">You Got It\u003c/a>.”\u003c/p>\n\u003cp>After taking a bit of a pandemic-influenced hiatus from music, the James Logan High School graduate provided some background vocals for Rexx Life Raj’s “\u003ca href=\"https://youtu.be/ggJ-dONAqvo\" target=\"_blank\" rel=\"noopener noreferrer\">Tesla in a Pandemic\u003c/a>.” In \u003ca href=\"https://xpressmagazine.org/17603/music/rising-star-kiyomi-steps-into-the-bay-area-music-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> that was published last year, around the same time as that song, Kiyomi mentioned plans to drop a new project in 2021. While fans who enjoyed her debut EP \u003cem>Solara Sunsets\u003c/em> wait for more music they can watch her latest video and enjoy her brilliant voice, some old school cars and the upbeat energy encapsulated in the visuals.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=3550343080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Tyler Holmes, “BIPP” (SOPHIE cover)\u003c/h2>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2021/01/30/arts/music/sophie-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">SOPHIE\u003c/a>’s sharp, exquisitely textured anti-pop made the artist a luminary in the electronic music world. And in the queer community, fans saw her as a beloved trans icon in a mostly cis and hetero industry. Sadly, SOPHIE died in late January after an accidental fall in Greece. As an homage to the groundbreaking Scottish artist, Oakland singer and producer \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> recently released a cover of Sophie’s “BIPP.” Where SOPHIE’s original is a disorienting, staccato club track that never quite finds its resolution, Holmes brings out the earnest and pleading qualities of its lyrics (“However you’re feeling / I can make you feel better”) with their smoother, bare-bones bedroom pop take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much like SOPHIE, Holmes is an artist who defies labels: \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\" target=\"_blank\" rel=\"noopener noreferrer\">they first came onto the Bay Area music scene\u003c/a> with a glitchy, industrial sound and phantasmagoric aesthetic forged in the local avant-garde drag scene. But their abrasive musical approach belied their traditionally beautiful R&B singing abilities (think Blood Orange and Sade), which come into clearer focus among cellos and woodwinds on their upcoming album \u003cem>Nightmare in Paradise\u003c/em>, out on \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> on March 26.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/975976852&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Young Shorty Doowop, “In My Reeboks”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/young-shorty-doowop\" target=\"_blank\" rel=\"noopener noreferrer\">Young Shorty Doowop\u003c/a>’s song “In My Reeboks” samples the beat of the ultra-explicit classic track from Three 6 Mafia and Tear da Club Up Thugs, “Slob on My Knob,” and combines it with a snippet from a viral recording of a voicemail of an enraged employee, bringing it all together for a good cause.\u003c/p>\n\u003cp>Young Shorty Doowop, or Y.S.D., a youth coordination for the Oakland LGBTQ Community Center, says she appreciates seeing people do the #YSDReebokChallenge (created by Yung Phil of the Turffeinz), but her real goal is to give pairs of shoes to people in need. So far she’s given away a handful, and she just launched a \u003ca href=\"https://gofund.me/31b2de39\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.\u003c/p>\n\u003cp>She’s banking on the song’s popularity to spread the word; as of now, it has nearly two million views on \u003ca href=\"https://www.tiktok.com/@iloveallmyfans2?_d=secCgYIASAHKAESMgowj3aeresYhr146O97XgiHeVMKUIqAb9ptYgCOzRqqULaqVEv4ikiWd53OfObvtSI4GgA%3D&language=en&sec_uid=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&sec_user_id=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&share_author_id=6758123774229595141&share_link_id=F94471BE-2B5B-485B-9545-2DC56FA34DDE&tt_from=copy&u_code=d98j5b01931a73&user_id=6758123774229595141&utm_campaign=client_share&utm_medium=ios&utm_source=copy&source=h5_m\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>. Despite the pandemic, the track has been played in front of some pretty large crowds of people, including at a Super Bowl event in Atlanta. Just yesterday Shorty, whose other song “\u003ca href=\"https://soundcloud.com/young-shorty-doowop/for-me-feat-brittany-nicole\" target=\"_blank\" rel=\"noopener noreferrer\">For Me\u003c/a>” was recently featured on \u003cem>Real Housewives of Atlanta\u003c/em>, announced an upcoming “In My Reeboks” tour, with shows scheduled in Pennsylvania, Miami and Dallas.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4263620943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4074977592/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kelly McFarling, “Birds”\u003c/h2>\n\u003cp>My best mornings come when I can stay in bed for a while and turn my mind off of the little things. As the late-sunrise birds outside chirp like they have for thousands of years, I think instead about the big things, like the passing of time, both before and after our blip of a life on this planet. So imagine my joy at finding \u003ca href=\"https://kellymcfarling.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly McFarling\u003c/a>’s “Birds,” an ode to that very fleeting moment, when all seems right—or at least manageable—with the world.\u003c/p>\n\u003cp>McFarling flips Leonard Cohen’s morose lyrical imagery into a bouyant, immediately catchy chorus—“Birds out on the wire / Like a bracelet on the blue”—and if you get a tinge of Fleetwood Mac’s “Dreams” from the chord progression, you’re not off the mark. While McFarling came to San Francisco by way or Georgia, “Birds” doesn’t shovel as much southern soil as the other songs on her new album, \u003cem>Deep the Habit\u003c/em>, which marks a new, sometimes even Dire Straits-y direction (as on “Delicate”), with bluesy guitar, mandolin and pedal steel. But she can still sing a plaintive sad song (like “North Decatur,” a perfect fit aside Phoebe Bridgers on any playlist), and in “Birds,” when the slow, dreamy bridge veers into Cocteau Twins territory and transports me from my daily routine, I find myself thinking: is there any transient feeling Kelly McFarling can’t bring to life?\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/UKRyw2RMdrM\u003c/p>\n\u003ch2>Beeda Weeda, “My Section”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.beedaweeda.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda\u003c/a> is on a mission to bring back a certain era in rap music. Over the past year, the rapper from East Oakland has dropped multiple tracks featuring OGs in the game: C-Bo, Spice One, Yukmouth, Keak Da Sneak, E-40 and B-Legit. Just yesterday, he released “\u003ca href=\"https://www.youtube.com/watch?v=Cw8IIOug_Ds&ab_channel=BeedaWeeda\" target=\"_blank\" rel=\"noopener noreferrer\">Back Against The Wall\u003c/a>” featuring Richie Rich.\u003c/p>\n\u003cp>His latest album \u003cem>Hot Boy Top Boy \u003c/em>is an ode to that special time in life, when Cash Money Records took over for the ’99 and the 2000. With multiple songs that remix classic beats and lyrics from the legendary Hot Boys, Beeda was intentional when he titled the album. The track “My Section,” (featuring Kye Kaszett) is a remix of Birdman’s 2005 hit “Out The Ghetto,” and is full of lyrics that honor the neighborhood where Beeda Weeda was raised. “Gentrification ain’t did shit, we still here / get high on the 8, and then go shop down on Fruitvale,” he raps over a beat that’s made for driving on a sunny day in whatever part of Northern California you call your section.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/8pzseoj19MM\u003c/p>\n\u003ch2>Mac J, “SKOOP”\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Death of a loved one can have unexpected effects on one’s creative mindset. After the fatal shooting last June of his close friend and fellow Sacramento rapper Bris, \u003ca href=\"https://www.instagram.com/truestory_macj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mac J\u003c/a> could have retreated into his pain, or dutifully copied-as-homage the style of his 24-year-old cuddie taken too soon. Instead, he’s just dropped “SKOOP,” an atmospheric, whispery track of determination and reinvention. “You might get my nickname, but not my government” he softly intones, over a galactic beat produced by True the Plug. While outer-space \u003cem>whirrs\u003c/em> trace spirals over thick, rumbling bass tones deeper than the Marianas Trench, Mac J ultimately finds his joy—and when he repeats “tricky dance moves, that’s my cousin shit.” Anyone with a heart can imagine Bris dancing in heaven.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This week we’re playing fun-loving R&B, 2000s throwbacks and an homage to a beloved trans icon. ","status":"publish","parent":0,"modified":1705019313,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/track=3550343080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=4263620943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4074977592/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1280},"headData":{"title":"Pass the Aux: New Tracks by Kiyomi, Beeda Weeda, Tyler Holmes, Kelly McFarling and More | KQED","description":"This week we’re playing fun-loving R&B, 2000s throwbacks and an homage to a beloved trans icon. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pass the Aux: New Tracks by Kiyomi, Beeda Weeda, Tyler Holmes, Kelly McFarling and More","datePublished":"2021-03-19T18:22:33.000Z","dateModified":"2024-01-12T00:28:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13894289/pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VW12P46SyZI'\n title='//www.youtube.com/embed/VW12P46SyZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Kiyomi, “Vintage”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/officialkiyomi\" target=\"_blank\" rel=\"noopener noreferrer\">Kiyomi\u003c/a>, an R&B vocalist from Union City who turned heads when she started uploading covers of popular songs as a teenager, is back with a new single. Just this week she dropped the video to “Vintage,” a follow up to her Valentines Day release, “\u003ca href=\"https://www.youtube.com/watch?v=vJnDmaPVvuY\" target=\"_blank\" rel=\"noopener noreferrer\">You Got It\u003c/a>.”\u003c/p>\n\u003cp>After taking a bit of a pandemic-influenced hiatus from music, the James Logan High School graduate provided some background vocals for Rexx Life Raj’s “\u003ca href=\"https://youtu.be/ggJ-dONAqvo\" target=\"_blank\" rel=\"noopener noreferrer\">Tesla in a Pandemic\u003c/a>.” In \u003ca href=\"https://xpressmagazine.org/17603/music/rising-star-kiyomi-steps-into-the-bay-area-music-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> that was published last year, around the same time as that song, Kiyomi mentioned plans to drop a new project in 2021. While fans who enjoyed her debut EP \u003cem>Solara Sunsets\u003c/em> wait for more music they can watch her latest video and enjoy her brilliant voice, some old school cars and the upbeat energy encapsulated in the visuals.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=3550343080/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Tyler Holmes, “BIPP” (SOPHIE cover)\u003c/h2>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2021/01/30/arts/music/sophie-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">SOPHIE\u003c/a>’s sharp, exquisitely textured anti-pop made the artist a luminary in the electronic music world. And in the queer community, fans saw her as a beloved trans icon in a mostly cis and hetero industry. Sadly, SOPHIE died in late January after an accidental fall in Greece. As an homage to the groundbreaking Scottish artist, Oakland singer and producer \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> recently released a cover of Sophie’s “BIPP.” Where SOPHIE’s original is a disorienting, staccato club track that never quite finds its resolution, Holmes brings out the earnest and pleading qualities of its lyrics (“However you’re feeling / I can make you feel better”) with their smoother, bare-bones bedroom pop take.\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>Much like SOPHIE, Holmes is an artist who defies labels: \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\" target=\"_blank\" rel=\"noopener noreferrer\">they first came onto the Bay Area music scene\u003c/a> with a glitchy, industrial sound and phantasmagoric aesthetic forged in the local avant-garde drag scene. But their abrasive musical approach belied their traditionally beautiful R&B singing abilities (think Blood Orange and Sade), which come into clearer focus among cellos and woodwinds on their upcoming album \u003cem>Nightmare in Paradise\u003c/em>, out on \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> on March 26.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/975976852&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Young Shorty Doowop, “In My Reeboks”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/young-shorty-doowop\" target=\"_blank\" rel=\"noopener noreferrer\">Young Shorty Doowop\u003c/a>’s song “In My Reeboks” samples the beat of the ultra-explicit classic track from Three 6 Mafia and Tear da Club Up Thugs, “Slob on My Knob,” and combines it with a snippet from a viral recording of a voicemail of an enraged employee, bringing it all together for a good cause.\u003c/p>\n\u003cp>Young Shorty Doowop, or Y.S.D., a youth coordination for the Oakland LGBTQ Community Center, says she appreciates seeing people do the #YSDReebokChallenge (created by Yung Phil of the Turffeinz), but her real goal is to give pairs of shoes to people in need. So far she’s given away a handful, and she just launched a \u003ca href=\"https://gofund.me/31b2de39\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.\u003c/p>\n\u003cp>She’s banking on the song’s popularity to spread the word; as of now, it has nearly two million views on \u003ca href=\"https://www.tiktok.com/@iloveallmyfans2?_d=secCgYIASAHKAESMgowj3aeresYhr146O97XgiHeVMKUIqAb9ptYgCOzRqqULaqVEv4ikiWd53OfObvtSI4GgA%3D&language=en&sec_uid=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&sec_user_id=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&share_author_id=6758123774229595141&share_link_id=F94471BE-2B5B-485B-9545-2DC56FA34DDE&tt_from=copy&u_code=d98j5b01931a73&user_id=6758123774229595141&utm_campaign=client_share&utm_medium=ios&utm_source=copy&source=h5_m\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>. Despite the pandemic, the track has been played in front of some pretty large crowds of people, including at a Super Bowl event in Atlanta. Just yesterday Shorty, whose other song “\u003ca href=\"https://soundcloud.com/young-shorty-doowop/for-me-feat-brittany-nicole\" target=\"_blank\" rel=\"noopener noreferrer\">For Me\u003c/a>” was recently featured on \u003cem>Real Housewives of Atlanta\u003c/em>, announced an upcoming “In My Reeboks” tour, with shows scheduled in Pennsylvania, Miami and Dallas.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4263620943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4074977592/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kelly McFarling, “Birds”\u003c/h2>\n\u003cp>My best mornings come when I can stay in bed for a while and turn my mind off of the little things. As the late-sunrise birds outside chirp like they have for thousands of years, I think instead about the big things, like the passing of time, both before and after our blip of a life on this planet. So imagine my joy at finding \u003ca href=\"https://kellymcfarling.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly McFarling\u003c/a>’s “Birds,” an ode to that very fleeting moment, when all seems right—or at least manageable—with the world.\u003c/p>\n\u003cp>McFarling flips Leonard Cohen’s morose lyrical imagery into a bouyant, immediately catchy chorus—“Birds out on the wire / Like a bracelet on the blue”—and if you get a tinge of Fleetwood Mac’s “Dreams” from the chord progression, you’re not off the mark. While McFarling came to San Francisco by way or Georgia, “Birds” doesn’t shovel as much southern soil as the other songs on her new album, \u003cem>Deep the Habit\u003c/em>, which marks a new, sometimes even Dire Straits-y direction (as on “Delicate”), with bluesy guitar, mandolin and pedal steel. But she can still sing a plaintive sad song (like “North Decatur,” a perfect fit aside Phoebe Bridgers on any playlist), and in “Birds,” when the slow, dreamy bridge veers into Cocteau Twins territory and transports me from my daily routine, I find myself thinking: is there any transient feeling Kelly McFarling can’t bring to life?\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UKRyw2RMdrM'\n title='//www.youtube.com/embed/UKRyw2RMdrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Beeda Weeda, “My Section”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.beedaweeda.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda\u003c/a> is on a mission to bring back a certain era in rap music. Over the past year, the rapper from East Oakland has dropped multiple tracks featuring OGs in the game: C-Bo, Spice One, Yukmouth, Keak Da Sneak, E-40 and B-Legit. Just yesterday, he released “\u003ca href=\"https://www.youtube.com/watch?v=Cw8IIOug_Ds&ab_channel=BeedaWeeda\" target=\"_blank\" rel=\"noopener noreferrer\">Back Against The Wall\u003c/a>” featuring Richie Rich.\u003c/p>\n\u003cp>His latest album \u003cem>Hot Boy Top Boy \u003c/em>is an ode to that special time in life, when Cash Money Records took over for the ’99 and the 2000. With multiple songs that remix classic beats and lyrics from the legendary Hot Boys, Beeda was intentional when he titled the album. The track “My Section,” (featuring Kye Kaszett) is a remix of Birdman’s 2005 hit “Out The Ghetto,” and is full of lyrics that honor the neighborhood where Beeda Weeda was raised. “Gentrification ain’t did shit, we still here / get high on the 8, and then go shop down on Fruitvale,” he raps over a beat that’s made for driving on a sunny day in whatever part of Northern California you call your section.\u003cem>—P.H.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8pzseoj19MM'\n title='//www.youtube.com/embed/8pzseoj19MM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Mac J, “SKOOP”\u003c/h2>\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>Death of a loved one can have unexpected effects on one’s creative mindset. After the fatal shooting last June of his close friend and fellow Sacramento rapper Bris, \u003ca href=\"https://www.instagram.com/truestory_macj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mac J\u003c/a> could have retreated into his pain, or dutifully copied-as-homage the style of his 24-year-old cuddie taken too soon. Instead, he’s just dropped “SKOOP,” an atmospheric, whispery track of determination and reinvention. “You might get my nickname, but not my government” he softly intones, over a galactic beat produced by True the Plug. While outer-space \u003cem>whirrs\u003c/em> trace spirals over thick, rumbling bass tones deeper than the Marianas Trench, Mac J ultimately finds his joy—and when he repeats “tricky dance moves, that’s my cousin shit.” Anyone with a heart can imagine Bris dancing in heaven.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894289/pass-the-aux-new-tracks-by-kiyomi-beeda-weeda-tyler-holmes-kelly-mcfarling-and-more","authors":["11491","185","11387"],"categories":["arts_1"],"tags":["arts_5397","arts_13815","arts_10278","arts_13240","arts_3139"],"featImg":"arts_13894302","label":"arts"},"arts_13846529":{"type":"posts","id":"arts_13846529","meta":{"index":"posts_1591205157","site":"arts","id":"13846529","score":null,"sort":[1544126074000]},"guestAuthors":[],"slug":"experimental-music-festival-stasis-benefits-hybrid-series-at-pro-arts","title":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts","publishDate":1544126074,"format":"standard","headTitle":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Since 2016, downtown Oakland gallery Pro Arts has become a staple venue for experimental electronic music and multimedia performance through its Hybrid series. Organizer Michael Daddona, who runs Ratskin Records, is well connected to local and touring artists operating in the murky intersections of noise and video, techno and performance art. But with fewer underground venues to host such gigs in Oakland, he’s found a fitting alternative at Pro Arts.\u003c/p>\n\u003cp>\u003ca href=\"https://proartsgallery.org/event/stasis-a-festival-of-sound-performance-video-art/\">Stasis: A Festival of Sound, Performance, Video & Art\u003c/a>, occurring this weekend at the nonprofit gallery, is at once a benefit for Hybrid and a celebration of the scenes it lifts up and serves. With nearly 40 musical or multimedia acts (many familiar from the Ratskin roster), along with film and video screenings and a visual art market, Stasis opens a wide window onto the margins of experimental electronic music in Oakland. \u003c/p>\n\u003cp>\u003ca href=\"http://ratskinrecords.bandcamp.com/album/pantheon-of-me\">\"Pantheon Of Me\" by SPELLLING\u003c/a>\u003c/p>\n\u003cp>Sunday, after a daytime art market, promises the record-release event for Spellling’s stirring debut full-length \u003cem>Pantheon of Me\u003c/em>, which Ratskin is reissuing on vinyl and cassette following its initial self-release last year. It comes ahead of a potential breakout moment for Berkeley songwriter Tia Cabral, whose follow-up album as Spellling is due February on high-profile New York indie Sacred Bones Records. Main support, meanwhile, is avant-pop artist \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\">Tyler Holmes\u003c/a>.\u003c/p>\n\u003cp>Friday and Saturday performers include synthesizer-oriented soloists Beast Nest and Lance Hill, multimedia performance vehicles Wizard Apprentice and Lexagon, noise projects Head Boggle and Bran (…) Pos, and underground fixtures Burmese and \u003ca href=\"https://www.kqed.org/arts/11550707/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias\">Las Sucias\u003c/a>. Tickets are $9 a day, or $25 for a three-day pass. Find the full lineup \u003ca href=\"https://www.facebook.com/events/674307272972443/\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The festival features artists working in the murky intersections of noise and video, techno and performance art. ","status":"publish","parent":0,"modified":1705026901,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":280},"headData":{"title":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts | KQED","description":"The festival features artists working in the murky intersections of noise and video, techno and performance art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Experimental Music Festival Stasis Benefits ‘Hybrid’ Series at Pro Arts","datePublished":"2018-12-06T19:54:34.000Z","dateModified":"2024-01-12T02:35:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13846529/experimental-music-festival-stasis-benefits-hybrid-series-at-pro-arts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 2016, downtown Oakland gallery Pro Arts has become a staple venue for experimental electronic music and multimedia performance through its Hybrid series. Organizer Michael Daddona, who runs Ratskin Records, is well connected to local and touring artists operating in the murky intersections of noise and video, techno and performance art. But with fewer underground venues to host such gigs in Oakland, he’s found a fitting alternative at Pro Arts.\u003c/p>\n\u003cp>\u003ca href=\"https://proartsgallery.org/event/stasis-a-festival-of-sound-performance-video-art/\">Stasis: A Festival of Sound, Performance, Video & Art\u003c/a>, occurring this weekend at the nonprofit gallery, is at once a benefit for Hybrid and a celebration of the scenes it lifts up and serves. With nearly 40 musical or multimedia acts (many familiar from the Ratskin roster), along with film and video screenings and a visual art market, Stasis opens a wide window onto the margins of experimental electronic music in Oakland. \u003c/p>\n\u003cp>\u003ca href=\"http://ratskinrecords.bandcamp.com/album/pantheon-of-me\">\"Pantheon Of Me\" by SPELLLING\u003c/a>\u003c/p>\n\u003cp>Sunday, after a daytime art market, promises the record-release event for Spellling’s stirring debut full-length \u003cem>Pantheon of Me\u003c/em>, which Ratskin is reissuing on vinyl and cassette following its initial self-release last year. It comes ahead of a potential breakout moment for Berkeley songwriter Tia Cabral, whose follow-up album as Spellling is due February on high-profile New York indie Sacred Bones Records. Main support, meanwhile, is avant-pop artist \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\">Tyler Holmes\u003c/a>.\u003c/p>\n\u003cp>Friday and Saturday performers include synthesizer-oriented soloists Beast Nest and Lance Hill, multimedia performance vehicles Wizard Apprentice and Lexagon, noise projects Head Boggle and Bran (…) Pos, and underground fixtures Burmese and \u003ca href=\"https://www.kqed.org/arts/11550707/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias\">Las Sucias\u003c/a>. Tickets are $9 a day, or $25 for a three-day pass. Find the full lineup \u003ca href=\"https://www.facebook.com/events/674307272972443/\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13846529/experimental-music-festival-stasis-benefits-hybrid-series-at-pro-arts","authors":["11091"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1118","arts_3649","arts_596","arts_3140","arts_2021","arts_3139"],"featImg":"arts_13846559","label":"arts_140"},"arts_13842485":{"type":"posts","id":"arts_13842485","meta":{"index":"posts_1591205157","site":"arts","id":"13842485","score":null,"sort":[1539183616000]},"guestAuthors":[],"slug":"a-feminist-and-queer-experimental-music-show-at-proarts","title":"A Feminist and Queer Experimental Music Show at ProArts","publishDate":1539183616,"format":"image","headTitle":"A Feminist and Queer Experimental Music Show at ProArts | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Anna Luisa Petrisko creates fantastical worlds beaming with technicolor visions of lush, bountiful futures, whether in her \u003ca href=\"https://www.kqed.org/arts/11246491/black-salt-collective-agitates-the-archive-with-visions-at-somarts\" target=\"_blank\" rel=\"noopener\">sculptures\u003c/a>, performance art, sci-fi video game, \u003cem>Jeep Jeep\u003c/em>, or new EP, \u003cem>Green\u003c/em>. The multi-talented L.A. artist, who used to go by Jeepneys when she lived in the Bay Area, is heading up to Oakland on tour with experimental electronic duo Xina Xurner, whose album \u003cem>Queens of the Night \u003c/em>juxtaposes operatic vocals with guttural howls and industrial club beats. [contextly_sidebar id=”hb6ZhPsYIMAdlWWcX4xhHeO6G361uGmy”]\u003c/p>\n\u003cp>At Pro Arts in Oakland on Oct. 17, Petrisko and Xurner will join internationally touring DJ and sound artist Maria Chavez and Oakland’s Tyler Holmes, whose D.I.Y. electronic music fuses the extremes of catchy electropop melodies and abrasive, computerized noise. (With Holmes, you never quite know what you’re going to get: at one show I attended last year, they performed an acoustic set in drag as a sad clown.)\u003c/p>\n\u003cp>The evening promises an eclectic array of feminist, queer experimental pop. Details \u003ca href=\"https://www.facebook.com/events/1948165731900668/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=615616878/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Maria Chavez, Anna Luisa Petrisko, Xina Xurner and Tyler Holmes perform at the Oakland art space on Oct. 17. ","status":"publish","parent":0,"modified":1705027159,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=615616878/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":176},"headData":{"title":"A Feminist and Queer Experimental Music Show at ProArts | KQED","description":"Maria Chavez, Anna Luisa Petrisko, Xina Xurner and Tyler Holmes perform at the Oakland art space on Oct. 17. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Feminist and Queer Experimental Music Show at ProArts","datePublished":"2018-10-10T15:00:16.000Z","dateModified":"2024-01-12T02:39:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13842485/a-feminist-and-queer-experimental-music-show-at-proarts","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anna Luisa Petrisko creates fantastical worlds beaming with technicolor visions of lush, bountiful futures, whether in her \u003ca href=\"https://www.kqed.org/arts/11246491/black-salt-collective-agitates-the-archive-with-visions-at-somarts\" target=\"_blank\" rel=\"noopener\">sculptures\u003c/a>, performance art, sci-fi video game, \u003cem>Jeep Jeep\u003c/em>, or new EP, \u003cem>Green\u003c/em>. The multi-talented L.A. artist, who used to go by Jeepneys when she lived in the Bay Area, is heading up to Oakland on tour with experimental electronic duo Xina Xurner, whose album \u003cem>Queens of the Night \u003c/em>juxtaposes operatic vocals with guttural howls and industrial club beats. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Pro Arts in Oakland on Oct. 17, Petrisko and Xurner will join internationally touring DJ and sound artist Maria Chavez and Oakland’s Tyler Holmes, whose D.I.Y. electronic music fuses the extremes of catchy electropop melodies and abrasive, computerized noise. (With Holmes, you never quite know what you’re going to get: at one show I attended last year, they performed an acoustic set in drag as a sad clown.)\u003c/p>\n\u003cp>The evening promises an eclectic array of feminist, queer experimental pop. Details \u003ca href=\"https://www.facebook.com/events/1948165731900668/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=615616878/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13842485/a-feminist-and-queer-experimental-music-show-at-proarts","authors":["11387"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_3649","arts_596","arts_3140","arts_3139"],"featImg":"arts_13842491","label":"arts_140"},"arts_13825316":{"type":"posts","id":"arts_13825316","meta":{"index":"posts_1591205157","site":"arts","id":"13825316","score":null,"sort":[1519351280000]},"guestAuthors":[],"slug":"a-fashion-show-for-freaks","title":"A Fashion Show for Freaks","publishDate":1519351280,"format":"standard","headTitle":"A Fashion Show for Freaks | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The words “fashion show” probably conjure images of Anna Wintour’s bob in a front row full of poised celebrities in their finest couture. But FILF, the fashion party and concert in Oakland on Mar. 3, is no New York Fashion Week.\u003c/p>\n\u003cp>Organized by singer-producer Juliet Gordon (formerly of the band \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest/\" target=\"_blank\" rel=\"noopener\">the Classical\u003c/a>) and a crew of collaborators from Oakland’s underground scene, FILF is part runway show and part genre-bending concert.\u003c/p>\n\u003cp>Performing onstage are devilish post-reggaeton duo \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a>; \u003ca href=\"https://soundcloud.com/l_f_c\" target=\"_blank\" rel=\"noopener\">LFC\u003c/a>, a collaboration between electronic musicians and drag performers \u003ca href=\"https://ww2.kqed.org/arts/2017/11/16/tyler-holmes-is-here-for-your-inner-freak/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> (pictured above) and Vain Hein; Gordon’s new band, Luxury Skin; lo-fi electro-punk band No-Ya; and Rosé, a new dance music project with members of Dingbat Superminx. In the mix is DJ Namaste Shawty, host of the spirituality-themed show \u003ca href=\"https://soundcloud.com/namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Las Brujas\u003c/a> on Lower Grand Radio, as well as DJs Diety and Katsy Pline.\u003c/p>\n\u003cp>Rounding out the night’s fashion is work from over a dozen local fashion designers, including airbrush king \u003ca href=\"http://www.malcolmstuart.com\" target=\"_blank\" rel=\"noopener\">Malcolm Stuart\u003c/a>, an Oakland native who’s created collections for Joy Rich and Ikea; surreal makeup guru and artist \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>; bondage-inspired accessory makers \u003ca href=\"https://www.facebook.com/RichLoveLeather/?fref=mentions&pnref=story\" target=\"_blank\" rel=\"noopener\">Rich Love Leather\u003c/a>; and more.\u003c/p>\n\u003cp>Expect strange designs — and even stranger sounds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘FILF’ gets underway Saturday, March 3, at the Starline Social Club in Oakland. \u003ca href=\"https://www.eventbrite.com/e/filf-2-filf-2-fabulous-a-live-fashion-music-event-tickets-42923913581\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"FILF brings together the best of Oakland's underground music and DIY fashion scenes. ","status":"publish","parent":0,"modified":1705028429,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":234},"headData":{"title":"A Fashion Show for Freaks | KQED","description":"FILF brings together the best of Oakland's underground music and DIY fashion scenes. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Fashion Show for Freaks","datePublished":"2018-02-23T02:01:20.000Z","dateModified":"2024-01-12T03:00:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13825316/a-fashion-show-for-freaks","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The words “fashion show” probably conjure images of Anna Wintour’s bob in a front row full of poised celebrities in their finest couture. But FILF, the fashion party and concert in Oakland on Mar. 3, is no New York Fashion Week.\u003c/p>\n\u003cp>Organized by singer-producer Juliet Gordon (formerly of the band \u003ca href=\"https://ww2.kqed.org/arts/2017/12/12/the-10-best-bay-area-albums-of-2017-the-classical-survival-of-the-softest/\" target=\"_blank\" rel=\"noopener\">the Classical\u003c/a>) and a crew of collaborators from Oakland’s underground scene, FILF is part runway show and part genre-bending concert.\u003c/p>\n\u003cp>Performing onstage are devilish post-reggaeton duo \u003ca href=\"https://ww2.kqed.org/arts/2016/05/04/wrecking-the-patriarchy-with-oakland-reggaeton-duo-las-sucias/\" target=\"_blank\" rel=\"noopener\">Las Sucias\u003c/a>; \u003ca href=\"https://soundcloud.com/l_f_c\" target=\"_blank\" rel=\"noopener\">LFC\u003c/a>, a collaboration between electronic musicians and drag performers \u003ca href=\"https://ww2.kqed.org/arts/2017/11/16/tyler-holmes-is-here-for-your-inner-freak/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> (pictured above) and Vain Hein; Gordon’s new band, Luxury Skin; lo-fi electro-punk band No-Ya; and Rosé, a new dance music project with members of Dingbat Superminx. In the mix is DJ Namaste Shawty, host of the spirituality-themed show \u003ca href=\"https://soundcloud.com/namasteshawty/sets/las-brujas-radio\" target=\"_blank\" rel=\"noopener\">Las Brujas\u003c/a> on Lower Grand Radio, as well as DJs Diety and Katsy Pline.\u003c/p>\n\u003cp>Rounding out the night’s fashion is work from over a dozen local fashion designers, including airbrush king \u003ca href=\"http://www.malcolmstuart.com\" target=\"_blank\" rel=\"noopener\">Malcolm Stuart\u003c/a>, an Oakland native who’s created collections for Joy Rich and Ikea; surreal makeup guru and artist \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>; bondage-inspired accessory makers \u003ca href=\"https://www.facebook.com/RichLoveLeather/?fref=mentions&pnref=story\" target=\"_blank\" rel=\"noopener\">Rich Love Leather\u003c/a>; and more.\u003c/p>\n\u003cp>Expect strange designs — and even stranger sounds.\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘FILF’ gets underway Saturday, March 3, at the Starline Social Club in Oakland. \u003ca href=\"https://www.eventbrite.com/e/filf-2-filf-2-fabulous-a-live-fashion-music-event-tickets-42923913581\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825316/a-fashion-show-for-freaks","authors":["11387"],"programs":["arts_140"],"categories":["arts_76","arts_69"],"tags":["arts_1501","arts_596","arts_3139"],"featImg":"arts_13815228","label":"arts_140"},"arts_13814982":{"type":"posts","id":"arts_13814982","meta":{"index":"posts_1591205157","site":"arts","id":"13814982","score":null,"sort":[1510873252000]},"guestAuthors":[],"slug":"tyler-holmes-is-here-for-your-inner-freak","title":"Tyler Holmes Is Here For Your Inner Freak","publishDate":1510873252,"format":"image","headTitle":"Tyler Holmes Is Here For Your Inner Freak | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On a chilly recent Tuesday evening, \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> meets me on the porch with all visible body parts painted red, wearing glowing colored contacts shining like reflectors. Even though I grew up on Marilyn Manson and regularly watch horror movies, I can’t help but feel slightly spooked.\u003c/p>\n\u003cp>That feeling dissipates when Holmes (who uses the pronoun “they”) cracks an easy smile and tells me that their roommate, the drag performer and musician \u003ca href=\"https://vainhein.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">vainhein\u003c/a> (who is out of drag and bustling in the kitchen), just finished painting them for my arrival. As we sit down on the couch to talk, some red makeup smudges onto the collar of Holmes’ puffer jacket, revealing a bit of the person behind the costume.\u003c/p>\n\u003cp>Holmes puts on the new Kelela album and asks me about my day, excitedly chit-chatting about their job teaching art to fourth graders at an after-school program. As I settle into the mundane, weeknight rhythm of the house, charmingly cluttered with art and musical instruments, it becomes easy to get used to the musician’s shocking appearance.\u003c/p>\n\u003cp>“I’m never gonna be Brad Pitt, that’s not my thing,” Holmes jokes.\u003c/p>\n\u003cfigure id=\"attachment_13815229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg\" alt=\"Tyler Holmes released their new EP, 'DEMO,' with Oakland's Ratskin Records last month. \" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes released their new EP, ‘DEMO,’ with Oakland’s Ratskin Records last month. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes, who is originally from Novato, has been a prominent figure in Oakland’s experimental music scene since \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ratskin Records\u003c/a> — the local label celebrated for its roster of forward-thinking, diverse experimental musicians — released their album, \u003ca href=\"https://tylerholmes.bandcamp.com/album/invisible-island\" target=\"_blank\" rel=\"noopener\">\u003cem>Invisible Island\u003c/em>\u003c/a>, last year. The project is a fever dream of glitchy samples, industrial synth lines, and full-out deconstructed noise. Its harsh, digitized elements dance around catchy synthpop melodies and Holmes’ raps and R&B vocal stylings. With Holmes’ savvy splicing of these disparate influences, the adventurous project makes its challenging content accessible through playful, poppy fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve always responded to variety, so I think expressing variety in a way that is palatable and pretty is really what I would like to do,” Holmes says.\u003c/p>\n\u003cfigure id=\"attachment_13815230\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg\" alt=\"Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes' project, 'Invisible Island.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes’ project, ‘Invisible Island.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes built on that foundation for their new EP, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/tyler-holmes-demo\" target=\"_blank\" rel=\"noopener\">\u003cem>DEMO\u003c/em>\u003c/a>, which came out last month digitally and on cassette through Ratskin. It takes its name from the idea that human beings are always evolving — a demo version of ourselves, never a finished product.\u003c/p>\n\u003cp>Holmes made the project in the wake of a four-year relationship. “\u003cem>Invisible Island\u003c/em> had a lot of things with video games and drugs, being lit,” says Holmes. “\u003cem>DEMO\u003c/em> is a little bit more introspective; it’s more about me viewing myself as a demo or an almost finished version and being okay with the different demos instead of being any one thing.”\u003c/p>\n\u003cp>Unlike the hodgepodge of sounds on \u003cem>Invisible Island\u003c/em>, \u003cem>DEMO\u003c/em> narrows its focus to experimental pop with an interplay of textured electronics that shift from soaring and melodic to gritty pounding to droning. The project is eclectic in typical Holmes fashion, but the artist swaps the rap and R&B elements of their previous work for a deeper exploration of electronic subgenres like noise, synthpop, and industrial.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=773938110/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Holmes’ unusual, technologically ancient recording process — which relies on primitive software, distorted and looped vocals, homemade instruments, and field recordings — is as inventive as their sound. “I still have my old desktop computer that’s probably 20 years old, a computer mic, and I use Sound Recorder 1994 or 1995. It records 60 second blocks of sounds but it has really good control because you can double it, reverse it, chop it to a quarter of a second, so I use that to sample drum sounds or make drum sounds out of random things.”\u003c/p>\n\u003cp>The in-between-ness of Holmes’ music exemplifies other aspects of their life that defy classification. “We change everyday, so trying to pin that down is hard to me,” they say. “I’m a lot of things: I’m a queer person, I’m a mixed-race person. For me, trying to attach to any of those like, I’m an R&B artist or I’m a rapper — even when I was a rapper, I’d sample Grouper for my beats because I wanted more texture and more stuff in there.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2262840849/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Fittingly, Holmes runs with a circle of gender non-conforming artists who are constantly reinventing the wheel of — well, any and every art form they can, really. \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>, the San Francisco performer and makeup artist whose otherworldly looks make \u003ca href=\"https://www.instagram.com/heyparkerday/?hl=en\" target=\"_blank\" rel=\"noopener\">Parker Day’s photography\u003c/a> seem tame, created Holmes’ technicolor, bug-eyed alien getup for the album art of \u003cem>Invisible Island\u003c/em>. For \u003ca href=\"https://tylerholmes.bandcamp.com/album/s-p-o-r-t\" target=\"_blank\" rel=\"noopener\">\u003cem>S P O R T\u003c/em>\u003c/a>, Holmes’ 2015 project Ratskin reissued on cassette last month, Jader painted Holmes green and turquoise and smashed their face into a piece of glass; their face paint splatters against the two-dimensional surface, making Holmes look more like a watercolor painting than a flesh-and-blood human.\u003c/p>\n\u003cfigure id=\"attachment_13815235\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg\" alt=\"Jader painted Tyler Holmes' face and smashed it against glass for the album art of 'S P O R T.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Jader painted Tyler Holmes’ face and smashed it against glass for the album art of ‘S P O R T.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This past summer, Holmes went on a cross-country tour with longtime collaborators San Cha, Sister Mantos, and Reyna the Ripper. (San Cha, Holmes, vainhein, and San Francisco drag queen \u003ca href=\"https://ww2.kqed.org/arts/2017/06/20/storytime-and-stilettos-with-persia/\" target=\"_blank\" rel=\"noopener\">Persia\u003c/a> once had a group called Daddie$ Pla$tik, whose anti-gentrification electroclash song “\u003ca href=\"https://www.youtube.com/watch?v=5xyqbc7SQ4w\" target=\"_blank\" rel=\"noopener\">Google Google Apps Apps\u003c/a>” made a splash in the local scene in 2013.) Unfortunately, the tour ended in an unexpected tragedy: Reyna the Ripper was shot in the lung during a random attack in Puerto Rico, and San Cha and Holmes missed their flights back to the mainland to care for their friend.\u003c/p>\n\u003cp>“San Cha and I were sleeping on an air mattress in a hospital in Puerto Rico for a month,” says Holmes, breathing out a sigh that their friend is recovering and has returned to the States. “Puerto Rico ended kind of abruptly, and that whole experience was so scary and so much drama that I said, ‘I want to come home and teach my kids and that’s it.'”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3496251761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Still, they agreed to two final shows before taking a temporary hiatus: They played a release show for \u003cem>DEMO\u003c/em> at ProArts Gallery in Downtown Oakland for Ratskin Records’ residency there, and they have an upcoming performance at the San Francisco gay bar the Stud alongside several other experimental electronic artists and drag performers, including Persia.\u003c/p>\n\u003cp>“This is what I’m here for,” Holmes says. “To bring the freak everywhere and tell people and show people and share their freakiness with them. Like, ‘Yes, y’all!'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Tyler Holmes performs at the Stud in San Francisco on Nov. 17. Details \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/286803218505185\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0536-1-800x450.jpg\" alt=\"Tyler Holmes' eclectic, DIY brand of electronic music is as off-kilter as their daring makeup looks.\" width=\"0\" height=\"0\">\u003c/p>\n\n","blocks":[],"excerpt":"The experimental artist's new EP embraces the in-between-ness of genre, gender, and identity. ","status":"publish","parent":0,"modified":1705029091,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=773938110/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2262840849/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3496251761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1185},"headData":{"title":"Tyler Holmes Is Here For Your Inner Freak | KQED","description":"The experimental artist's new EP embraces the in-between-ness of genre, gender, and identity. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tyler Holmes Is Here For Your Inner Freak","datePublished":"2017-11-16T23:00:52.000Z","dateModified":"2024-01-12T03:11:31.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13814982/tyler-holmes-is-here-for-your-inner-freak","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a chilly recent Tuesday evening, \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Tyler Holmes\u003c/a> meets me on the porch with all visible body parts painted red, wearing glowing colored contacts shining like reflectors. Even though I grew up on Marilyn Manson and regularly watch horror movies, I can’t help but feel slightly spooked.\u003c/p>\n\u003cp>That feeling dissipates when Holmes (who uses the pronoun “they”) cracks an easy smile and tells me that their roommate, the drag performer and musician \u003ca href=\"https://vainhein.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">vainhein\u003c/a> (who is out of drag and bustling in the kitchen), just finished painting them for my arrival. As we sit down on the couch to talk, some red makeup smudges onto the collar of Holmes’ puffer jacket, revealing a bit of the person behind the costume.\u003c/p>\n\u003cp>Holmes puts on the new Kelela album and asks me about my day, excitedly chit-chatting about their job teaching art to fourth graders at an after-school program. As I settle into the mundane, weeknight rhythm of the house, charmingly cluttered with art and musical instruments, it becomes easy to get used to the musician’s shocking appearance.\u003c/p>\n\u003cp>“I’m never gonna be Brad Pitt, that’s not my thing,” Holmes jokes.\u003c/p>\n\u003cfigure id=\"attachment_13815229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg\" alt=\"Tyler Holmes released their new EP, 'DEMO,' with Oakland's Ratskin Records last month. \" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/DSC_0529-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes released their new EP, ‘DEMO,’ with Oakland’s Ratskin Records last month. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes, who is originally from Novato, has been a prominent figure in Oakland’s experimental music scene since \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Ratskin Records\u003c/a> — the local label celebrated for its roster of forward-thinking, diverse experimental musicians — released their album, \u003ca href=\"https://tylerholmes.bandcamp.com/album/invisible-island\" target=\"_blank\" rel=\"noopener\">\u003cem>Invisible Island\u003c/em>\u003c/a>, last year. The project is a fever dream of glitchy samples, industrial synth lines, and full-out deconstructed noise. Its harsh, digitized elements dance around catchy synthpop melodies and Holmes’ raps and R&B vocal stylings. With Holmes’ savvy splicing of these disparate influences, the adventurous project makes its challenging content accessible through playful, poppy fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve always responded to variety, so I think expressing variety in a way that is palatable and pretty is really what I would like to do,” Holmes says.\u003c/p>\n\u003cfigure id=\"attachment_13815230\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg\" alt=\"Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes' project, 'Invisible Island.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TylerHolmes_InvisibleIslandAlbumArt_UseTHIS_Final-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Makeup artist Jader transformed Tyler Holmes into an otherworldly alien for the album art of Holmes’ project, ‘Invisible Island.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holmes built on that foundation for their new EP, \u003ca href=\"https://ratskinrecords.bandcamp.com/album/tyler-holmes-demo\" target=\"_blank\" rel=\"noopener\">\u003cem>DEMO\u003c/em>\u003c/a>, which came out last month digitally and on cassette through Ratskin. It takes its name from the idea that human beings are always evolving — a demo version of ourselves, never a finished product.\u003c/p>\n\u003cp>Holmes made the project in the wake of a four-year relationship. “\u003cem>Invisible Island\u003c/em> had a lot of things with video games and drugs, being lit,” says Holmes. “\u003cem>DEMO\u003c/em> is a little bit more introspective; it’s more about me viewing myself as a demo or an almost finished version and being okay with the different demos instead of being any one thing.”\u003c/p>\n\u003cp>Unlike the hodgepodge of sounds on \u003cem>Invisible Island\u003c/em>, \u003cem>DEMO\u003c/em> narrows its focus to experimental pop with an interplay of textured electronics that shift from soaring and melodic to gritty pounding to droning. The project is eclectic in typical Holmes fashion, but the artist swaps the rap and R&B elements of their previous work for a deeper exploration of electronic subgenres like noise, synthpop, and industrial.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=773938110/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Holmes’ unusual, technologically ancient recording process — which relies on primitive software, distorted and looped vocals, homemade instruments, and field recordings — is as inventive as their sound. “I still have my old desktop computer that’s probably 20 years old, a computer mic, and I use Sound Recorder 1994 or 1995. It records 60 second blocks of sounds but it has really good control because you can double it, reverse it, chop it to a quarter of a second, so I use that to sample drum sounds or make drum sounds out of random things.”\u003c/p>\n\u003cp>The in-between-ness of Holmes’ music exemplifies other aspects of their life that defy classification. “We change everyday, so trying to pin that down is hard to me,” they say. “I’m a lot of things: I’m a queer person, I’m a mixed-race person. For me, trying to attach to any of those like, I’m an R&B artist or I’m a rapper — even when I was a rapper, I’d sample Grouper for my beats because I wanted more texture and more stuff in there.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2262840849/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Fittingly, Holmes runs with a circle of gender non-conforming artists who are constantly reinventing the wheel of — well, any and every art form they can, really. \u003ca href=\"http://www.jadervision.com/\" target=\"_blank\" rel=\"noopener\">Jader\u003c/a>, the San Francisco performer and makeup artist whose otherworldly looks make \u003ca href=\"https://www.instagram.com/heyparkerday/?hl=en\" target=\"_blank\" rel=\"noopener\">Parker Day’s photography\u003c/a> seem tame, created Holmes’ technicolor, bug-eyed alien getup for the album art of \u003cem>Invisible Island\u003c/em>. For \u003ca href=\"https://tylerholmes.bandcamp.com/album/s-p-o-r-t\" target=\"_blank\" rel=\"noopener\">\u003cem>S P O R T\u003c/em>\u003c/a>, Holmes’ 2015 project Ratskin reissued on cassette last month, Jader painted Holmes green and turquoise and smashed their face into a piece of glass; their face paint splatters against the two-dimensional surface, making Holmes look more like a watercolor painting than a flesh-and-blood human.\u003c/p>\n\u003cfigure id=\"attachment_13815235\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg\" alt=\"Jader painted Tyler Holmes' face and smashed it against glass for the album art of 'S P O R T.'\" width=\"500\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Jader_Good-Sport_2015-375x563.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Jader painted Tyler Holmes’ face and smashed it against glass for the album art of ‘S P O R T.’ \u003ccite>(Jader)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This past summer, Holmes went on a cross-country tour with longtime collaborators San Cha, Sister Mantos, and Reyna the Ripper. (San Cha, Holmes, vainhein, and San Francisco drag queen \u003ca href=\"https://ww2.kqed.org/arts/2017/06/20/storytime-and-stilettos-with-persia/\" target=\"_blank\" rel=\"noopener\">Persia\u003c/a> once had a group called Daddie$ Pla$tik, whose anti-gentrification electroclash song “\u003ca href=\"https://www.youtube.com/watch?v=5xyqbc7SQ4w\" target=\"_blank\" rel=\"noopener\">Google Google Apps Apps\u003c/a>” made a splash in the local scene in 2013.) Unfortunately, the tour ended in an unexpected tragedy: Reyna the Ripper was shot in the lung during a random attack in Puerto Rico, and San Cha and Holmes missed their flights back to the mainland to care for their friend.\u003c/p>\n\u003cp>“San Cha and I were sleeping on an air mattress in a hospital in Puerto Rico for a month,” says Holmes, breathing out a sigh that their friend is recovering and has returned to the States. “Puerto Rico ended kind of abruptly, and that whole experience was so scary and so much drama that I said, ‘I want to come home and teach my kids and that’s it.'”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3496251761/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Still, they agreed to two final shows before taking a temporary hiatus: They played a release show for \u003cem>DEMO\u003c/em> at ProArts Gallery in Downtown Oakland for Ratskin Records’ residency there, and they have an upcoming performance at the San Francisco gay bar the Stud alongside several other experimental electronic artists and drag performers, including Persia.\u003c/p>\n\u003cp>“This is what I’m here for,” Holmes says. “To bring the freak everywhere and tell people and show people and share their freakiness with them. Like, ‘Yes, y’all!'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Tyler Holmes performs at the Stud in San Francisco on Nov. 17. Details \u003ca href=\"https://www.studsf.com/new-events/https/wwwfacebookcom/events/286803218505185\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/DSC_0536-1-800x450.jpg\" alt=\"Tyler Holmes' eclectic, DIY brand of electronic music is as off-kilter as their daring makeup looks.\" width=\"0\" height=\"0\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13814982/tyler-holmes-is-here-for-your-inner-freak","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_596","arts_3140","arts_3139"],"featImg":"arts_13815228","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.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! 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. 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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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