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Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did | KQED
Jared Leto performs with Thirty Seconds to Mars at the LA Forum, December 2018. (Kevin Winter/Getty Images for KROQ/Entercom)
In the middle of August, Thirty Seconds to Mars—the rock band Jared Leto has fronted since 1998—returned from an island retreat they’d held in Croatia for hundreds of fans and proudly posted photos that had a distinctly Peoples Temple vibe. (Well, if everyone at the Peoples Temple had been white, anyway.)
The pictures showed Leto doing his best Jesus impersonation in flowing white robes, addressing fans who sat dotingly at his feet, and being followed around by hoards of young women. The band captioned the photos “Yes, this is a cult.”
The band has been using that tagline for years now, on social media, in merch and in music videos. In 2013, Leto told The New York Times Magazine that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.
Thirty Seconds to Mars fans already collectively refer to themselves as “the Echelon,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.
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The Echelon also seems more than happy to don all-white uniforms and worship at Jared Leto’s feet.
Like many cults, the Echelon espouses an us vs. them mentality via the hashtag #YouWouldntUnderstand, a refrain Leto repeats often. That idea has pushed supporters to ever more fervent degrees of devotion any time the band receives any degree of criticism. (Scientology followers have been employing a similar methodology for decades.)
Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a night sleeping in his bed). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans get tattoos in their honor. (Take that, NXIVM!)
Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming Camp Mars, taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)
There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”
Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged up to $900 for meet and greets in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge $658, Rihanna was still only charging $116 in 2015 and Taylor Swift has a policy of not charging fans to meet her at all.) One of the great ironies of all this is that Leto declared the band “anti-greed” in 2013.
The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, one blogger wrote: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” Another wrote: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”
In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his My So-Called Life days and then getting them scrubbed from the internet by threatening legal action.
Music journalist Raziq Rauf told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”
It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.
A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “hollow and emotionally one-note” (last year, Spin described Leto’s lyrics as “meaningless word salad“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.
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So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.
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FM","link":"/"}},"arts_13958149":{"type":"posts","id":"arts_13958149","meta":{"index":"posts_1591205157","site":"arts","id":"13958149","found":true},"guestAuthors":[],"slug":"too-short-free-show-town-up-tuesday-lake-merritt","title":"Too Short Is Playing a Free Show Tuesday at the Lake","publishDate":1716234375,"format":"standard","headTitle":"Too Short Is Playing a Free Show Tuesday at the Lake | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival By the Lake\u003c/a> may be gone, but its spirit continues in the many free mini-festivals held around the shores of Lake Merritt. And an annual favorite, \u003ca href=\"https://urbanpeacemovement.org/event/town-up-tuesday-2024/\">Town Up Tuesday\u003c/a>, has booked its biggest headliner yet for Tuesday, May 21: Too Short. \u003c/p>\n\u003cp>How will a rap legend who routinely plays large arenas adapt to a lakeshore gazebo? It remains to be seen, but it’s completely free, so expect a huge crowd. Also performing are Town favorites \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100Himself\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\">Trunk Boiz\u003c/a> — a formidable lineup in its own right — but Too Short all but guarantees the biggest Town Up Tuesday yet. \u003c/p>\n\u003cp>[aside postID='arts_13927349']Produced by the Oakland nonprofit Urban Peace Movement, Town Up Tuesday was conceived as a way to bring people together after the pandemic while simultaneously engaging young people with civic issues and upcoming elections. \u003c/p>\n\u003cp>“The main message is about getting involved and paying attention to local issues that impact the everyday lives of people in Oakland and the Bay Area,” says Urban Peace Movement’s Nicole Lee. “Obviously we have a consequential election coming up in November, and we want people to be informed, and to pay attention to that election, especially at the local level.”\u003c/p>\n\u003cp>Lee herself grew up going to Festival By the Lake, and says she wants to help reinvigorate pride in Oakland — especially as San Francisco’s so-called doom-loop narrative migrates across the Bay to the Town. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11690787']As it turns out, Too Short agreed to perform in part because he feels the same way.\u003c/p>\n\u003cp>“He’s expressed to some of our team that he’s felt disheartened by the narrative about Oakland,” says Lee, “and how there are negative perceptions about Oakland that sometimes overshadow all the culture, creativity, innovation and social activism that comes from Oakland, and has had national and global impact.”\u003c/p>\n\u003cp>Hosting Tuesday’s event are Mystic and DNas, and the rest of the lineup includes DJs Daghe & Emelle, plus Michael Sneed, 3Nise, the Animaniakz and Ms. Bria. (There’s two “surprise legendary artists” promised too.) There’s also double dutch sessions with Jump Squad 510, wellness services from Freedom Community Clinic, a kids’ area and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday is free, and takes place Tuesday, May 21, at the Edoff Memorial Bandstand on the northwestern shore of Lake Merritt. \u003ca href=\"https://www.facebook.com/urbanpeacemovement/posts/pfbid0WesdcR8QYmzriBXMM3FNZjYRzJzan8fERs7x2vUzJ2mLNWbJFzm1DboC7csW1HCnl\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The free event, 'Town Up Tuesday,' also features 1100Himself, the Conscious Daughters and the Trunk Boiz.","status":"publish","parent":0,"modified":1716318248,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":420},"headData":{"title":"Too Short Is Playing a Free Show Tuesday at the Lake | KQED","description":"The free event, 'Town Up Tuesday,' also features 1100Himself, the Conscious Daughters and the Trunk Boiz.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Too Short Is Playing a Free Show Tuesday at the Lake","datePublished":"2024-05-20T12:46:15-07:00","dateModified":"2024-05-21T12:04:08-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958149","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958149/too-short-free-show-town-up-tuesday-lake-merritt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival By the Lake\u003c/a> may be gone, but its spirit continues in the many free mini-festivals held around the shores of Lake Merritt. And an annual favorite, \u003ca href=\"https://urbanpeacemovement.org/event/town-up-tuesday-2024/\">Town Up Tuesday\u003c/a>, has booked its biggest headliner yet for Tuesday, May 21: Too Short. \u003c/p>\n\u003cp>How will a rap legend who routinely plays large arenas adapt to a lakeshore gazebo? It remains to be seen, but it’s completely free, so expect a huge crowd. Also performing are Town favorites \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100Himself\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and the \u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\">Trunk Boiz\u003c/a> — a formidable lineup in its own right — but Too Short all but guarantees the biggest Town Up Tuesday yet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Produced by the Oakland nonprofit Urban Peace Movement, Town Up Tuesday was conceived as a way to bring people together after the pandemic while simultaneously engaging young people with civic issues and upcoming elections. \u003c/p>\n\u003cp>“The main message is about getting involved and paying attention to local issues that impact the everyday lives of people in Oakland and the Bay Area,” says Urban Peace Movement’s Nicole Lee. “Obviously we have a consequential election coming up in November, and we want people to be informed, and to pay attention to that election, especially at the local level.”\u003c/p>\n\u003cp>Lee herself grew up going to Festival By the Lake, and says she wants to help reinvigorate pride in Oakland — especially as San Francisco’s so-called doom-loop narrative migrates across the Bay to the Town. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11690787","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As it turns out, Too Short agreed to perform in part because he feels the same way.\u003c/p>\n\u003cp>“He’s expressed to some of our team that he’s felt disheartened by the narrative about Oakland,” says Lee, “and how there are negative perceptions about Oakland that sometimes overshadow all the culture, creativity, innovation and social activism that comes from Oakland, and has had national and global impact.”\u003c/p>\n\u003cp>Hosting Tuesday’s event are Mystic and DNas, and the rest of the lineup includes DJs Daghe & Emelle, plus Michael Sneed, 3Nise, the Animaniakz and Ms. Bria. (There’s two “surprise legendary artists” promised too.) There’s also double dutch sessions with Jump Squad 510, wellness services from Freedom Community Clinic, a kids’ area and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday is free, and takes place Tuesday, May 21, at the Edoff Memorial Bandstand on the northwestern shore of Lake Merritt. \u003ca href=\"https://www.facebook.com/urbanpeacemovement/posts/pfbid0WesdcR8QYmzriBXMM3FNZjYRzJzan8fERs7x2vUzJ2mLNWbJFzm1DboC7csW1HCnl\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958149/too-short-free-show-town-up-tuesday-lake-merritt","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_20453","arts_831","arts_1785","arts_585","arts_3478"],"featImg":"arts_13922549","label":"arts_140"},"arts_13957833":{"type":"posts","id":"arts_13957833","meta":{"index":"posts_1591205157","site":"arts","id":"13957833","found":true},"guestAuthors":[],"slug":"golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","title":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party","publishDate":1715729282,"format":"standard","headTitle":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790376816840146993\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790360287725674855\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.","status":"publish","parent":0,"modified":1715729282,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":679},"headData":{"title":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party | KQED","description":"The Bay Area’s newest sports franchise will host a free community event in front of Chase Center this weekend.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party","datePublished":"2024-05-14T16:28:02-07:00","dateModified":"2024-05-14T16:28:02-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13957833","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1790376816840146993"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1790360287725674855"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957833/golden-state-valkyries-chase-center-wnba-block-party-kehlani-e-40-p-lo","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_5786","arts_6926","arts_1601","arts_22151","arts_9346","arts_1829","arts_681","arts_1803","arts_1146"],"featImg":"arts_13957856","label":"arts"},"arts_13957576":{"type":"posts","id":"arts_13957576","meta":{"index":"posts_1591205157","site":"arts","id":"13957576","found":true},"guestAuthors":[],"slug":"bay-area-free-concerts-summer-2024","title":"10 Free Concerts Not to Miss in the Bay Area This Summer","publishDate":1715878846,"format":"standard","headTitle":"10 Free Concerts Not to Miss in the Bay Area This Summer | KQED","labelTerm":{},"content":"\u003cp>According to economist Thorstein Veblen, conspicuous consumption results in a counter-intuitive dynamic: Increasing a luxury item’s cost can actually lead to higher demand. But no social scientist has explained why the satisfaction of experiencing live music seems to rise as the price of admission approaches zero. My theory is that Veblen goods acquire cache due to the perception of exclusivity, while free concerts often foster a sense of welcoming solidarity, as newbie passersby mingle with devoted fans.\u003c/p>\n\u003cp>The Bay Area’s multifarious free concert options may not provide an antidote to the region’s Veblen epidemic, but these sounds of summer are a celebration, and everyone’s invited.\u003c/p>\n\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/howardwiley-june1\">Howard Wiley’s SF Love: Playing For the People\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park Bandshell, San Francisco\u003cbr>\nJune 1, 2-6 p.m.\u003c/em>\u003c/p>\n\u003cp>Oakland saxophone great Howard Wiley presented his soul-powered love letter to California at the SFJAZZ Center last March, and he’s bringing the party to the Golden Gate Bandshell as part of the recently launched SF Live concert series. Wiley’s band shares the afternoon program with DJ Knowpa Slaps, MC Radioactive and Bayonics vocalist Jairo Vargas’s side project, Rojai and the Pocket. Drawing on hip-hop, funk, gospel, blues and bebop, Wiley has been devising outrageously creative mash-ups (think “Hotel California” meets “Californication”). Produced in partnership with Illuminate and Madrone Art Bar, where Wiley’s band Extra Nappy held down a weekly residency for years before the pandemic, the concert is part of \u003ca href=\"https://sflivefest.com/\">SF Live’s six-month series of free concerts.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13957946\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg\" alt=\"\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-768x403.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">South African musicians Steve and Bokani Dyer (right to left). \u003ccite>(Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/dyertribe/\">Dyertribe: Steve & Bokani Dyer + Izithunywa featuring Nbado Zulu & Linda Sikhakhane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nJune 8, 1-3 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South African jazz musicians were in the forefront of the struggle against apartheid, and this double bill is part of a 30th-anniversary celebration of the country’s first free, multiracial election. One of South Africa’s leading improvisers, saxophonist Steve Dyer, came of age in the crucible of the anti-apartheid movement. He performs with Dyertribe, his duo with his son, pianist/composer Bokani Dyer. Offering another view of South Africa’s creative ferment, the group Izithunywa, featuring trumpeter Ndabo Zulu and saxophonist Linda Sikhakhane, draw deeply on traditional music from Botswana and the Zulu people. Co-presented with the Museum of the African Diaspora, the Bay Area residency includes a free talk and musical demonstration at MoAD on Friday, June 7, 6:30-8 p.m., “\u003ca href=\"https://www.moadsf.org/event/discussion-demonstration-south-african-jazz-a-musical-journey-through-traditions-and-time\">South African Jazz: A Musical Journey Through Traditions and Time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13957949\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg\" alt=\"\" width=\"1024\" height=\"819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-768x614.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">American jazz duo Tuck and Patti, William Charles “Tuck” Andress and singer Patricia “Patti” Cathcart Andress perform during the Newport Folk Festival 2018 at Fort Adams State Park on July 27, 2018 in Newport, Rhode Island. \u003ccite>(Photo by Douglas Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Childrens-Theatre/Twilight-Concert-Series\">Tuck & Patti\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Rinconada Park, Palo Alto\u003cbr>\nJune 8, 6:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Palo Alto’s long-running Twilight Concert Series opens with hometown heroes Tuck & Patti, a.k.a. guitar wizard Tuck Andress and bewitching vocalist Patti Cathcart. The couple has been performing as a self-contained duo for close to four decades, honing an expansive repertoire of gracefully reharmonized jazz, soul, R&B and pop tunes. Cathcart has also written emotionally bountiful originals that celebrate love and forgiveness. While they haven’t released a new album since 2007, a new generation of listeners have discovered Tuck & Patti via Andress’ niece St. Vincent, who traveled with the duo as a roadie and tour manager.\u003c/p>\n\u003cfigure id=\"attachment_10678353\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10678353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg\" alt=\"\" width=\"1600\" height=\"2257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-400x564.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-837x1180.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-1180x1665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-960x1354.jpg 960w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\">Healdsburg Jazz’s Juneteenth Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Downtown Healdsburg\u003cbr>\nJune 15, 2-8:30 p.m.\u003c/i>\u003c/p>\n\u003cp>The Healdsburg Jazz Festival (June 15-23), which has continued to punch well above its weight under the direction of San Francisco bass maestro Marcus Shelby, kicks off with a free, all-day Juneteenth celebration in the town’s picturesque plaza. It’s a musical triple bill headlined by the sextet of trombone star Steve Turre, the festival’s artist in residence. Saxophones are well represented by Person2Person, the quintet co-led by 89-year-old tenor great Houston Person and his younger colleague, fiery altoist Eric Person. And pianist Darrell Grant performs with his Modern Jazz Quartet-inspired chamber jazz band Darrell Grant and MJ New.\u003c/p>\n\u003cfigure id=\"attachment_13957952\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png\" alt=\"\" width=\"970\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-800x663.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-768x637.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/pacificmambo-june20\">Pacific Mambo Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fulton Plaza, San Francisco\u003cbr>\nJune 20, 4-7 p.m.\u003c/i>\u003c/p>\n\u003cp>The Pacific Mambo Orchestra shocked the Latin music world with an upset victory at the 2014 Grammys, when the group’s eponymous crowd-funded release won Best Tropical Latin Album. Ever since, the East Bay big band has been a mainstay at festivals and nightclubs. Co-led by trumpeter Steffen Kuehn and pianist Christian Tumalan, the band is packed with top players and arrangers, like trombonist Mike Rinta and baritone saxophonist Aaron Lington. With Armando Cordoba, Christelle Durandy and Braulio Barrera providing an array of lead vocals, the PMO is designed to keep dance floors crowded.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vQ26Z-vJftM\u003c/p>\n\u003ch2>\u003ca href=\"https://www.cortemaderacommunityfoundation.org/corte-madera-summer-concerts\">Anthony Paule Soul Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Piccolo Pavilion in Menke Park, Corte Madera\u003c/em>\u003cbr>\n\u003cem>June 23, 5-6:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Guitarist Anthony Paule’s Soul Orchestra is a horn-powered combo devoted to swaggering, 1960s and ’70s blues and soul emanating from Detroit, Muscle Shoals and Los Angeles. The group has earned a devoted following through regular appearances at European music festivals, showcasing powerhouse vocalists like Terrie Odabi and Wee Willie Walker. For this concert, part of the Corte Madera Summer Concert series, the APSO is joined by Willy Jordan, a versatile singer (and drummer) who’s toured and recorded with John Lee Hooker, Elvin Bishop, Charlie Musselwhite and Gator Beat.\u003c/p>\n\u003cfigure id=\"attachment_13957954\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg\" alt=\"\" width=\"1500\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-768x564.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Le Jazz Hot. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jazzontheplazz.com/2024-concerts/\">Le Jazz Hot Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Los Gatos Town Plaza\u003cbr>\nJune 26, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>A long-running mid-week concert series in Los Gatos, Jazz on the Plazz kicks off this year with the timeless swing of Le Jazz Hot Quartet. A distilled version of guitarist Paul Mehling’s Hot Club of San Francisco (the ensemble that spearheaded a North American revival of Django Reinhardt’s and Stéphane Grappelli’s ebullient 1930s sound), the quartet explores Reinhardt standards, Beatles tunes and numerous originals with the requisite rhythmic authority.\u003c/p>\n\u003cfigure id=\"attachment_13957955\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg\" alt=\"\" width=\"1024\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-768x506.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux performs on stage during Day 3 of the Womad Festival at Charlton Park on July 29, 2023 in Malmesbury, England. \u003ccite>(C Brandon/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/ana-tijoux-j-noa/\">Ana Tijoux & J Noa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 3, 1–3 p.m.\u003c/em>\u003c/p>\n\u003cp>After her hit 2010 solo debut, \u003cem>1977\u003c/em>, French-born Chilean MC Ana Tijoux was dubbed “South America’s answer to Lauryn Hill: equally skillful at singing and rapping” by \u003cem>The New York Times\u003c/em>. In truth, she’s forged a highly personal sound, combining old-school hip-hop production with Latin American instrumentation. Her recent album, \u003cem>Vengo\u003c/em>, features some of her most appealing work, and she brings a full band to the Yerba Buena Gardens Festival. With teenage Dominican rap sensation J Noa playing an opening set, this double bill is the city’s premier global hip-hop summer showcase.\u003c/p>\n\u003cfigure id=\"attachment_13957957\" class=\"wp-caption aligncenter\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg\" alt=\"\" width=\"672\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015-160x214.jpg 160w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Monica Salmaso. \u003ccite>(Roberto Filho/Divulgacão)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/brazil-in-the-gardens-2024/\">Brazil in the Gardens: Monica Salmaso, Guinga and Teca Cardoso\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 15, 12:30-1:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Monica Salmaso made her mark with \u003cem>Afro-Sambas\u003c/em>, the classic 1997 album with guitarist Paulo Bellinati interpreting Baden Powell’s and Vinícius de Moraes’ incantatory song cycle. The São Paulo vocalist doesn’t make it to the Bay Area often, and this concert stems from California Brazil Camp, which sends a contingent of faculty every summer from the redwoods of Cazadero to San Francisco’s Yerba Buena Gardens. She’s joined by Guinga, a master guitarist, vocalist and composer whose songs have been recorded by Brazilian legends such as Elis Regina, Clara Nunes and Miúcha; and multi-instrumentalist Teco Cardoso, a brilliant improviser on saxophones and flutes known for his work with Edu Lobo, Joyce, João Donato, Rosa Passos and Baden Powell himself.\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg\" alt=\"Meklit Hadero.\" width=\"900\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/movement-immigrant-orchestra/\">Meklit’s Movement Immigrant Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 31, 1-2:30 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco-based Ethiopian American singer, songwriter and expert story wrangler Meklit manifests her multi-platform \u003ca href=\"https://www.meklitmusic.com/movement\">Movement\u003c/a> initiative at the Gardens with a dozen musicians hailing from 10 countries. Focusing on the experience of border-crossing artists, the production draws on her podcast, nationally syndicated public radio broadcast and stage production. Performers include Mexican singer-songwriter Diana Gameros, Iranian composer Sahba Aminikia, Italian percussionist extraordinaire Marco Peris, Malian virtuoso Mamadou Sidibé, Carnatic percussionist Rohan Krishnamurthy, Barrio Manouche guitarist Javi Jimenez, Iranian American bassist/composer Safa Shokrai and Meklit herself.\u003c/p>\n\n","blocks":[],"excerpt":"Free jazz, salsa and hip-hop shows abound in all corners of the Bay. ","status":"publish","parent":0,"modified":1715959641,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1525},"headData":{"title":"10 Free Concerts Not to Miss in the Bay Area This Summer | KQED","description":"Free jazz, salsa and hip-hop shows abound in all corners of the Bay. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Free Concerts Not to Miss in the Bay Area This Summer","datePublished":"2024-05-16T10:00:46-07:00","dateModified":"2024-05-17T08:27:21-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957576","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957576/bay-area-free-concerts-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to economist Thorstein Veblen, conspicuous consumption results in a counter-intuitive dynamic: Increasing a luxury item’s cost can actually lead to higher demand. But no social scientist has explained why the satisfaction of experiencing live music seems to rise as the price of admission approaches zero. My theory is that Veblen goods acquire cache due to the perception of exclusivity, while free concerts often foster a sense of welcoming solidarity, as newbie passersby mingle with devoted fans.\u003c/p>\n\u003cp>The Bay Area’s multifarious free concert options may not provide an antidote to the region’s Veblen epidemic, but these sounds of summer are a celebration, and everyone’s invited.\u003c/p>\n\u003cfigure id=\"attachment_13951313\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951313\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg\" alt=\"A Black man in a cap and patterned blue shirt stands with a saxophone, with moving boxes and an organ in the background\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/HowardWiley3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Howard Wiley in his Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/howardwiley-june1\">Howard Wiley’s SF Love: Playing For the People\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park Bandshell, San Francisco\u003cbr>\nJune 1, 2-6 p.m.\u003c/em>\u003c/p>\n\u003cp>Oakland saxophone great Howard Wiley presented his soul-powered love letter to California at the SFJAZZ Center last March, and he’s bringing the party to the Golden Gate Bandshell as part of the recently launched SF Live concert series. Wiley’s band shares the afternoon program with DJ Knowpa Slaps, MC Radioactive and Bayonics vocalist Jairo Vargas’s side project, Rojai and the Pocket. Drawing on hip-hop, funk, gospel, blues and bebop, Wiley has been devising outrageously creative mash-ups (think “Hotel California” meets “Californication”). Produced in partnership with Illuminate and Madrone Art Bar, where Wiley’s band Extra Nappy held down a weekly residency for years before the pandemic, the concert is part of \u003ca href=\"https://sflivefest.com/\">SF Live’s six-month series of free concerts.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13957946\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg\" alt=\"\" width=\"1200\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-1020x536.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/060824_DYERTIBE_web3-768x403.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">South African musicians Steve and Bokani Dyer (right to left). \u003ccite>(Yerba Buena Gardens Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/dyertribe/\">Dyertribe: Steve & Bokani Dyer + Izithunywa featuring Nbado Zulu & Linda Sikhakhane\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nJune 8, 1-3 p.m.\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>South African jazz musicians were in the forefront of the struggle against apartheid, and this double bill is part of a 30th-anniversary celebration of the country’s first free, multiracial election. One of South Africa’s leading improvisers, saxophonist Steve Dyer, came of age in the crucible of the anti-apartheid movement. He performs with Dyertribe, his duo with his son, pianist/composer Bokani Dyer. Offering another view of South Africa’s creative ferment, the group Izithunywa, featuring trumpeter Ndabo Zulu and saxophonist Linda Sikhakhane, draw deeply on traditional music from Botswana and the Zulu people. Co-presented with the Museum of the African Diaspora, the Bay Area residency includes a free talk and musical demonstration at MoAD on Friday, June 7, 6:30-8 p.m., “\u003ca href=\"https://www.moadsf.org/event/discussion-demonstration-south-african-jazz-a-musical-journey-through-traditions-and-time\">South African Jazz: A Musical Journey Through Traditions and Time\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13957949\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957949\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg\" alt=\"\" width=\"1024\" height=\"819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1006707674-768x614.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">American jazz duo Tuck and Patti, William Charles “Tuck” Andress and singer Patricia “Patti” Cathcart Andress perform during the Newport Folk Festival 2018 at Fort Adams State Park on July 27, 2018 in Newport, Rhode Island. \u003ccite>(Photo by Douglas Mason/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Childrens-Theatre/Twilight-Concert-Series\">Tuck & Patti\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Rinconada Park, Palo Alto\u003cbr>\nJune 8, 6:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Palo Alto’s long-running Twilight Concert Series opens with hometown heroes Tuck & Patti, a.k.a. guitar wizard Tuck Andress and bewitching vocalist Patti Cathcart. The couple has been performing as a self-contained duo for close to four decades, honing an expansive repertoire of gracefully reharmonized jazz, soul, R&B and pop tunes. Cathcart has also written emotionally bountiful originals that celebrate love and forgiveness. While they haven’t released a new album since 2007, a new generation of listeners have discovered Tuck & Patti via Andress’ niece St. Vincent, who traveled with the duo as a roadie and tour manager.\u003c/p>\n\u003cfigure id=\"attachment_10678353\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10678353\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg\" alt=\"\" width=\"1600\" height=\"2257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-400x564.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-425x600.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-837x1180.jpg 837w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-1180x1665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Marcus-Shelby-credit-Scott-Chernis-960x1354.jpg 960w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://healdsburgjazz.org/festival-schedule/june-15/\">Healdsburg Jazz’s Juneteenth Celebration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Downtown Healdsburg\u003cbr>\nJune 15, 2-8:30 p.m.\u003c/i>\u003c/p>\n\u003cp>The Healdsburg Jazz Festival (June 15-23), which has continued to punch well above its weight under the direction of San Francisco bass maestro Marcus Shelby, kicks off with a free, all-day Juneteenth celebration in the town’s picturesque plaza. It’s a musical triple bill headlined by the sextet of trombone star Steve Turre, the festival’s artist in residence. Saxophones are well represented by Person2Person, the quintet co-led by 89-year-old tenor great Houston Person and his younger colleague, fiery altoist Eric Person. And pianist Darrell Grant performs with his Modern Jazz Quartet-inspired chamber jazz band Darrell Grant and MJ New.\u003c/p>\n\u003cfigure id=\"attachment_13957952\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png\" alt=\"\" width=\"970\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78.png 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-800x663.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-160x133.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screenshot-78-768x637.png 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">Pacific Mambo Orchestra. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sflivefest.com/sf-live-calendar/pacificmambo-june20\">Pacific Mambo Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Fulton Plaza, San Francisco\u003cbr>\nJune 20, 4-7 p.m.\u003c/i>\u003c/p>\n\u003cp>The Pacific Mambo Orchestra shocked the Latin music world with an upset victory at the 2014 Grammys, when the group’s eponymous crowd-funded release won Best Tropical Latin Album. Ever since, the East Bay big band has been a mainstay at festivals and nightclubs. Co-led by trumpeter Steffen Kuehn and pianist Christian Tumalan, the band is packed with top players and arrangers, like trombonist Mike Rinta and baritone saxophonist Aaron Lington. With Armando Cordoba, Christelle Durandy and Braulio Barrera providing an array of lead vocals, the PMO is designed to keep dance floors crowded.\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/vQ26Z-vJftM'\n title='//www.youtube.com/embed/vQ26Z-vJftM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003ca href=\"https://www.cortemaderacommunityfoundation.org/corte-madera-summer-concerts\">Anthony Paule Soul Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Piccolo Pavilion in Menke Park, Corte Madera\u003c/em>\u003cbr>\n\u003cem>June 23, 5-6:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Guitarist Anthony Paule’s Soul Orchestra is a horn-powered combo devoted to swaggering, 1960s and ’70s blues and soul emanating from Detroit, Muscle Shoals and Los Angeles. The group has earned a devoted following through regular appearances at European music festivals, showcasing powerhouse vocalists like Terrie Odabi and Wee Willie Walker. For this concert, part of the Corte Madera Summer Concert series, the APSO is joined by Willy Jordan, a versatile singer (and drummer) who’s toured and recorded with John Lee Hooker, Elvin Bishop, Charlie Musselwhite and Gator Beat.\u003c/p>\n\u003cfigure id=\"attachment_13957954\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg\" alt=\"\" width=\"1500\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/la-jazz-2-768x564.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Le Jazz Hot. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://jazzontheplazz.com/2024-concerts/\">Le Jazz Hot Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Los Gatos Town Plaza\u003cbr>\nJune 26, 6:30-8:30 p.m.\u003c/em>\u003c/p>\n\u003cp>A long-running mid-week concert series in Los Gatos, Jazz on the Plazz kicks off this year with the timeless swing of Le Jazz Hot Quartet. A distilled version of guitarist Paul Mehling’s Hot Club of San Francisco (the ensemble that spearheaded a North American revival of Django Reinhardt’s and Stéphane Grappelli’s ebullient 1930s sound), the quartet explores Reinhardt standards, Beatles tunes and numerous originals with the requisite rhythmic authority.\u003c/p>\n\u003cfigure id=\"attachment_13957955\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg\" alt=\"\" width=\"1024\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1579253674-1-768x506.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux performs on stage during Day 3 of the Womad Festival at Charlton Park on July 29, 2023 in Malmesbury, England. \u003ccite>(C Brandon/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/ana-tijoux-j-noa/\">Ana Tijoux & J Noa\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 3, 1–3 p.m.\u003c/em>\u003c/p>\n\u003cp>After her hit 2010 solo debut, \u003cem>1977\u003c/em>, French-born Chilean MC Ana Tijoux was dubbed “South America’s answer to Lauryn Hill: equally skillful at singing and rapping” by \u003cem>The New York Times\u003c/em>. In truth, she’s forged a highly personal sound, combining old-school hip-hop production with Latin American instrumentation. Her recent album, \u003cem>Vengo\u003c/em>, features some of her most appealing work, and she brings a full band to the Yerba Buena Gardens Festival. With teenage Dominican rap sensation J Noa playing an opening set, this double bill is the city’s premier global hip-hop summer showcase.\u003c/p>\n\u003cfigure id=\"attachment_13957957\" class=\"wp-caption aligncenter\" style=\"max-width: 672px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg\" alt=\"\" width=\"672\" height=\"897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Monica_Salmaso_2015-160x214.jpg 160w\" sizes=\"(max-width: 672px) 100vw, 672px\">\u003cfigcaption class=\"wp-caption-text\">Monica Salmaso. \u003ccite>(Roberto Filho/Divulgacão)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/brazil-in-the-gardens-2024/\">Brazil in the Gardens: Monica Salmaso, Guinga and Teca Cardoso\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 15, 12:30-1:30 p.m.\u003c/i>\u003c/p>\n\u003cp>Monica Salmaso made her mark with \u003cem>Afro-Sambas\u003c/em>, the classic 1997 album with guitarist Paulo Bellinati interpreting Baden Powell’s and Vinícius de Moraes’ incantatory song cycle. The São Paulo vocalist doesn’t make it to the Bay Area often, and this concert stems from California Brazil Camp, which sends a contingent of faculty every summer from the redwoods of Cazadero to San Francisco’s Yerba Buena Gardens. She’s joined by Guinga, a master guitarist, vocalist and composer whose songs have been recorded by Brazilian legends such as Elis Regina, Clara Nunes and Miúcha; and multi-instrumentalist Teco Cardoso, a brilliant improviser on saxophones and flutes known for his work with Edu Lobo, Joyce, João Donato, Rosa Passos and Baden Powell himself.\u003c/p>\n\u003cfigure id=\"attachment_13858024\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858024\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg\" alt=\"Meklit Hadero.\" width=\"900\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p.jpeg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/oHZ-jH2p-768x768.jpeg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Meklit Hadero. \u003ccite>(Ronald Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ybgfestival.org/event/movement-immigrant-orchestra/\">Meklit’s Movement Immigrant Orchestra\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Yerba Buena Gardens, San Francisco\u003cbr>\nAug. 31, 1-2:30 p.m.\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>San Francisco-based Ethiopian American singer, songwriter and expert story wrangler Meklit manifests her multi-platform \u003ca href=\"https://www.meklitmusic.com/movement\">Movement\u003c/a> initiative at the Gardens with a dozen musicians hailing from 10 countries. Focusing on the experience of border-crossing artists, the production draws on her podcast, nationally syndicated public radio broadcast and stage production. Performers include Mexican singer-songwriter Diana Gameros, Iranian composer Sahba Aminikia, Italian percussionist extraordinaire Marco Peris, Malian virtuoso Mamadou Sidibé, Carnatic percussionist Rohan Krishnamurthy, Barrio Manouche guitarist Javi Jimenez, Iranian American bassist/composer Safa Shokrai and Meklit herself.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957576/bay-area-free-concerts-summer-2024","authors":["86"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_22150","arts_585"],"featImg":"arts_13953527","label":"source_arts_13957576"},"arts_13958114":{"type":"posts","id":"arts_13958114","meta":{"index":"posts_1591205157","site":"arts","id":"13958114","found":true},"guestAuthors":[],"slug":"todos-oakland-la-casita-comeback-menudo-pozole","title":"The Return of East Oakland’s Menudo King","publishDate":1716228789,"format":"standard","headTitle":"The Return of East Oakland’s Menudo King | KQED","labelTerm":{},"content":"\u003cp>In 2019, Nolberto Martinez, Jr. was already an East Oakland legend in the making. His little taqueria, La Casita, was \u003ca href=\"https://eastbayexpress.com/pozole-birria-and-more-homey-cooking-at-la-casita-2-1/\">routinely hailed\u003c/a> as one of the \u003ca href=\"https://www.instagram.com/p/B6GXIfUlr7c4A3MSRv9hBxrXrfiLyyWMCldJos0/?img_index=6\">best restaurants\u003c/a> in Fruitvale — for its fat, hand-pressed tortillas, its habit-forming housemade salsas and, most of all, its homey, Jalisco-style soups, like pozole and menudo, which were some of the best I’d ever tasted. At the center of it all was Martinez himself, the Bay Area’s self-styled “\u003ca href=\"https://www.instagram.com/p/Bk5XxFYnDH8Uz6YpKcgAiLNM2tScp6G3P0v3TQ0/\">menudo king\u003c/a>,” a boisterous presence who’d greet each guest with a plate of tortillas and cotija-dusted black beans and a booming, “What can I get for you, bro?”\u003c/p>\n\u003cp>It was a dream come true for an East Oakland kid who grew up bussing tables at his grandmother’s Mexican restaurant on East 12th, hatching plans to someday open his own spot.\u003c/p>\n\u003cp>Then, a series of calamities: In May of 2019, Martinez’s father passed away from cancer, and before he’d even had a chance to process his grief, the pandemic hit the Bay Area in full force. “Nobody was coming to the Fruitvale,” Martinez recalls. “We were constantly in the news: ‘Don’t come to the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/One-Oakland-neighborhood-has-seen-a-surge-in-15651955.php\">Fruitvale district because of COVID\u003c/a>.’ It was a ghost town.”\u003c/p>\n\u003cp>La Casita’s temporary closure quickly turned permanent, and then Martinez…kind of disappeared for four years. Not literally, of course. He still picked up catering gigs and did occasional pop-ups, slinging quesabirria in the park or at a local brewery. Once in a while he’d cook up a big batch of his excellent, sneakily spicy \u003ca href=\"https://sf.eater.com/2020/12/8/22154347/holidays-shopping-gifts-san-francisco-oakland-food-restaurants\">orange salsa\u003c/a> and sell it to his \u003ca href=\"https://www.instagram.com/p/CIeksGLF_kECYCtgJwTQjKxSLjKkpaUmcOsL7E0/?img_index=1\">Instagram\u003c/a> followers. But as far as running a restaurant? It seemed like he was out of the game for good.\u003c/p>\n\u003cfigure id=\"attachment_13958128\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut.jpg\" alt=\"A chef uses tongs to turn ears of corn cooking on the grill inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">After a four-year hiatus, Martinez is back doing what he loves best: running a restaurant in Oakland. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until a couple of months ago, that is. In March, Martinez started a new job as the general manager of \u003ca href=\"https://www.instagram.com/todosmexican/?hl=en\">Todos\u003c/a>, a two-year-old Mexican restaurant in downtown Oakland where he does a little bit of everything — works front of house, oversees the kitchen crew, lends a hand at the bar, jumps on the line to grill up some elote. Slowly, too, he’s been tweaking the menu, and in the next couple of weeks, he’ll be rolling out some of the La Casita classics that made him a local legend: the birria, pozole and menudo. It’s an answer to so many soup lovers’ wistful prayers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now firmly entrenched in his new gig, Martinez acknowledges that the past four years were a dark and difficult time. Losing his dad, Nolberto Sr. — himself a chef and \u003ca href=\"https://www.instagram.com/p/ByVYUeOAKy5vGAE1f33S8ohAtbvf2fYkSvzXwA0/\">longtime fixture in Oakland restaurant kitchens\u003c/a> — was a big blow to the entire family. Losing La Casita on top of that left Martinez feeling even more heartbroken and unmoored.\u003c/p>\n\u003cp>“All I ever wanted was to open my own restaurant,” he says. “I was really down, man. For a long time, I was pissed off at myself.”\u003c/p>\n\u003cp>In the midst of those difficult times, Martinez says he turned to his Oakland community for support. He worked for a coffee roaster and a moving company for a while, then found a job as a prep cook for a nonprofit that delivered meals to churches and convalescent homes. He started working on his mental health, too — joined a men’s healing group, stopped drinking, came to terms with his father’s death and just generally tried to take better care of himself.\u003c/p>\n\u003cfigure id=\"attachment_13957673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED.jpg\" alt='Exterior of of a downtown restaurant. The sign reads, \"Todos Cantina + Cocina.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Todos, a two-year-old Mexican restaurant in downtown Oakland, has given Martinez a fresh opportunity. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around this time, one of his coworkers told him that the Todos ownership group — the team that operates \u003ca href=\"https://underdogstoo.com/\">Underdogs\u003c/a> in San Francisco and a handful of \u003ca href=\"https://elrestaurante.com/the-taco-syndicate-web-of-restaurants-keeps-taco-lovers-happ/\">other Mexican restaurants around the Bay\u003c/a> — was looking for someone to run their Oakland location. They wanted someone who loved Oakland and knew the Mexican food business. As it turns out, Martinez fit that description to a T.\u003c/p>\n\u003cp>There is a trope in the food industry where a talented chef quits his cushy job working for a big, investor-driven restaurant in order to open his own little passion project, allowing him to finally find true fulfillment. On the face of it, anyway, Martinez’s path has had the reverse trajectory. But if anything, he seems humbled and grateful for the opportunity.\u003c/p>\n\u003cp>“Not too many people want to teach you something, let alone a guy from East Oakland,” Martinez says of his new employers. “I’m happy. I feel a lot better as a person. I feel like I have the weight on my shoulders [lifted].”\u003c/p>\n\u003cfigure id=\"attachment_13957677\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quesabirria cook on the plancha. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Martinez is learning the ins and outs of running a 90-seat restaurant — much, much larger than his tiny taqueria on Foothill Boulevard. He manages dozens of employees, handles a massive office catering operation and is taking online classes to acquire all of the deeper business knowledge he’d previously just had to pick up on the fly.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955802,arts_13954112,arts_13931115']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For longtime fans of La Casita, the most exciting part is that he’s starting to put his own stamp on the menu. This week he’ll roll out his beef birria, which has already been on the menu in the form of his popular consomé-soaked quesabirria tacos. Now, Todos will serve birria in a variety of new formats — the traditional way, as a soup, with rice and beans on the side; as a street taco; and in the double-wrapped crispy tacos known as diablitos. “You can call Todos an Oakland birrieria now, I’m very proud to say,” Martinez says.\u003c/p>\n\u003cp>In the coming weeks he’ll also begin serving pozole and menudo on the weekends. Both are versions of recipes that Martinez inherited when he bought the Foothill Boulevard restaurant from Ana Maria Campos, who ran it under the name Taqueria Campos for more than 10 years before he took over the business. It’s for good reason that old customers still speak about those soups in hushed, reverent tones: In my memory, Martinez’s \u003ca href=\"https://www.instagram.com/lacasitaeastoakland/\">red pork pozole\u003c/a> had the kind of heady, invigorating broth that warms you up from the inside, especially when doctored with a drizzle of the chef’s housemade chile de árbol chili oil.\u003c/p>\n\u003cfigure id=\"attachment_13957678\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED.jpg\" alt=\"A sauce-drenched wet burrito on a plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The wet burrito at Todos. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And his menudo, that famous hangover cure, may have been the best I’ve ever tasted — the tripe and the jiggly beef trotter slow-simmered until they’re slurpably soft, the broth as clean and clarifying as you can imagine. During La Casita’s glory years, the restaurant was “like a \u003ca href=\"https://www.instagram.com/p/BksX-98HDv8HkCi5N3oYRFh-A0j-YL-HWb7rE80/\">hangover headquarters\u003c/a>,” Martinez recalls, as customers lined up for their morning menudo fix on Saturdays and Sundays — and even Mondays, when the really serious drinkers would call in sick. “I call it food for the soul, man,” he says.\u003c/p>\n\u003cp>After his long hiatus, Martinez says it means the world to him to bring these dishes back to Oakland now, at a restaurant with an even wider reach. He thinks about how important it is for him to carry on his family’s legacy — about how much he loved watching his dad cook and how his grandmother opened La Estrellita, one of Fruitvale’s first Mexican restaurants.\u003c/p>\n\u003cfigure id=\"attachment_13958129\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut.jpg\" alt=\"A chef puts plates of food that are ready to be served onto the pass inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For Martinez, operating a restaurant in Oakland is a matter of family pride — and Town pride. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is the matter, too, of repping his neighborhood and hometown. In the old La Casita days, in almost every photo of the restaurant that Martinez posted on social media, he’s posing next to the mural on the outside. It reads, in boldface lowrider-style lettering, “\u003ca href=\"https://www.instagram.com/p/B8Wqnj_laPncUFgduyw_OWl0eoCNWkrXbwZVZk0/\">Oakland Over Everything\u003c/a>” — an encapsulation of the chef’s Town pride.\u003c/p>\n\u003cp>“Me being from the Fruitvale district here in East Oakland, it was rough growing up. A lot of us didn’t make it; a lot of us are not doing good,” Martinez says. “For me to be blessed like this, it means a lot.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/todosmexican/\">\u003ci>Todos\u003c/i>\u003c/a>\u003ci> is located at 2315 Valdez St. in Oakland.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A beloved taquero reemerges at Oakland’s Todos after a four-year hiatus. ","status":"publish","parent":0,"modified":1716230784,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1449},"headData":{"title":"Fruitvale's Best Menudo Makes a Comeback in Downtown Oakland | KQED","description":"A beloved taquero reemerges at Oakland’s Todos after a four-year hiatus. ","ogTitle":"The Return of East Oakland’s Menudo King","ogDescription":"","ogImgId":"","twTitle":"The Return of East Oakland’s Menudo King","twDescription":"","twImgId":"","socialTitle":"Fruitvale's Best Menudo Makes a Comeback in Downtown Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Return of East Oakland’s Menudo King","datePublished":"2024-05-20T11:13:09-07:00","dateModified":"2024-05-20T11:46:24-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13958114","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958114/todos-oakland-la-casita-comeback-menudo-pozole","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2019, Nolberto Martinez, Jr. was already an East Oakland legend in the making. His little taqueria, La Casita, was \u003ca href=\"https://eastbayexpress.com/pozole-birria-and-more-homey-cooking-at-la-casita-2-1/\">routinely hailed\u003c/a> as one of the \u003ca href=\"https://www.instagram.com/p/B6GXIfUlr7c4A3MSRv9hBxrXrfiLyyWMCldJos0/?img_index=6\">best restaurants\u003c/a> in Fruitvale — for its fat, hand-pressed tortillas, its habit-forming housemade salsas and, most of all, its homey, Jalisco-style soups, like pozole and menudo, which were some of the best I’d ever tasted. At the center of it all was Martinez himself, the Bay Area’s self-styled “\u003ca href=\"https://www.instagram.com/p/Bk5XxFYnDH8Uz6YpKcgAiLNM2tScp6G3P0v3TQ0/\">menudo king\u003c/a>,” a boisterous presence who’d greet each guest with a plate of tortillas and cotija-dusted black beans and a booming, “What can I get for you, bro?”\u003c/p>\n\u003cp>It was a dream come true for an East Oakland kid who grew up bussing tables at his grandmother’s Mexican restaurant on East 12th, hatching plans to someday open his own spot.\u003c/p>\n\u003cp>Then, a series of calamities: In May of 2019, Martinez’s father passed away from cancer, and before he’d even had a chance to process his grief, the pandemic hit the Bay Area in full force. “Nobody was coming to the Fruitvale,” Martinez recalls. “We were constantly in the news: ‘Don’t come to the \u003ca href=\"https://www.sfchronicle.com/bayarea/article/One-Oakland-neighborhood-has-seen-a-surge-in-15651955.php\">Fruitvale district because of COVID\u003c/a>.’ It was a ghost town.”\u003c/p>\n\u003cp>La Casita’s temporary closure quickly turned permanent, and then Martinez…kind of disappeared for four years. Not literally, of course. He still picked up catering gigs and did occasional pop-ups, slinging quesabirria in the park or at a local brewery. Once in a while he’d cook up a big batch of his excellent, sneakily spicy \u003ca href=\"https://sf.eater.com/2020/12/8/22154347/holidays-shopping-gifts-san-francisco-oakland-food-restaurants\">orange salsa\u003c/a> and sell it to his \u003ca href=\"https://www.instagram.com/p/CIeksGLF_kECYCtgJwTQjKxSLjKkpaUmcOsL7E0/?img_index=1\">Instagram\u003c/a> followers. But as far as running a restaurant? It seemed like he was out of the game for good.\u003c/p>\n\u003cfigure id=\"attachment_13958128\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958128\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut.jpg\" alt=\"A chef uses tongs to turn ears of corn cooking on the grill inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-03_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">After a four-year hiatus, Martinez is back doing what he loves best: running a restaurant in Oakland. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Until a couple of months ago, that is. In March, Martinez started a new job as the general manager of \u003ca href=\"https://www.instagram.com/todosmexican/?hl=en\">Todos\u003c/a>, a two-year-old Mexican restaurant in downtown Oakland where he does a little bit of everything — works front of house, oversees the kitchen crew, lends a hand at the bar, jumps on the line to grill up some elote. Slowly, too, he’s been tweaking the menu, and in the next couple of weeks, he’ll be rolling out some of the La Casita classics that made him a local legend: the birria, pozole and menudo. It’s an answer to so many soup lovers’ wistful prayers.\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>Now firmly entrenched in his new gig, Martinez acknowledges that the past four years were a dark and difficult time. Losing his dad, Nolberto Sr. — himself a chef and \u003ca href=\"https://www.instagram.com/p/ByVYUeOAKy5vGAE1f33S8ohAtbvf2fYkSvzXwA0/\">longtime fixture in Oakland restaurant kitchens\u003c/a> — was a big blow to the entire family. Losing La Casita on top of that left Martinez feeling even more heartbroken and unmoored.\u003c/p>\n\u003cp>“All I ever wanted was to open my own restaurant,” he says. “I was really down, man. For a long time, I was pissed off at myself.”\u003c/p>\n\u003cp>In the midst of those difficult times, Martinez says he turned to his Oakland community for support. He worked for a coffee roaster and a moving company for a while, then found a job as a prep cook for a nonprofit that delivered meals to churches and convalescent homes. He started working on his mental health, too — joined a men’s healing group, stopped drinking, came to terms with his father’s death and just generally tried to take better care of himself.\u003c/p>\n\u003cfigure id=\"attachment_13957673\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED.jpg\" alt='Exterior of of a downtown restaurant. The sign reads, \"Todos Cantina + Cocina.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Todos, a two-year-old Mexican restaurant in downtown Oakland, has given Martinez a fresh opportunity. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around this time, one of his coworkers told him that the Todos ownership group — the team that operates \u003ca href=\"https://underdogstoo.com/\">Underdogs\u003c/a> in San Francisco and a handful of \u003ca href=\"https://elrestaurante.com/the-taco-syndicate-web-of-restaurants-keeps-taco-lovers-happ/\">other Mexican restaurants around the Bay\u003c/a> — was looking for someone to run their Oakland location. They wanted someone who loved Oakland and knew the Mexican food business. As it turns out, Martinez fit that description to a T.\u003c/p>\n\u003cp>There is a trope in the food industry where a talented chef quits his cushy job working for a big, investor-driven restaurant in order to open his own little passion project, allowing him to finally find true fulfillment. On the face of it, anyway, Martinez’s path has had the reverse trajectory. But if anything, he seems humbled and grateful for the opportunity.\u003c/p>\n\u003cp>“Not too many people want to teach you something, let alone a guy from East Oakland,” Martinez says of his new employers. “I’m happy. I feel a lot better as a person. I feel like I have the weight on my shoulders [lifted].”\u003c/p>\n\u003cfigure id=\"attachment_13957677\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957677\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-06-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quesabirria cook on the plancha. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Martinez is learning the ins and outs of running a 90-seat restaurant — much, much larger than his tiny taqueria on Foothill Boulevard. He manages dozens of employees, handles a massive office catering operation and is taking online classes to acquire all of the deeper business knowledge he’d previously just had to pick up on the fly.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955802,arts_13954112,arts_13931115","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>For longtime fans of La Casita, the most exciting part is that he’s starting to put his own stamp on the menu. This week he’ll roll out his beef birria, which has already been on the menu in the form of his popular consomé-soaked quesabirria tacos. Now, Todos will serve birria in a variety of new formats — the traditional way, as a soup, with rice and beans on the side; as a street taco; and in the double-wrapped crispy tacos known as diablitos. “You can call Todos an Oakland birrieria now, I’m very proud to say,” Martinez says.\u003c/p>\n\u003cp>In the coming weeks he’ll also begin serving pozole and menudo on the weekends. Both are versions of recipes that Martinez inherited when he bought the Foothill Boulevard restaurant from Ana Maria Campos, who ran it under the name Taqueria Campos for more than 10 years before he took over the business. It’s for good reason that old customers still speak about those soups in hushed, reverent tones: In my memory, Martinez’s \u003ca href=\"https://www.instagram.com/lacasitaeastoakland/\">red pork pozole\u003c/a> had the kind of heady, invigorating broth that warms you up from the inside, especially when doctored with a drizzle of the chef’s housemade chile de árbol chili oil.\u003c/p>\n\u003cfigure id=\"attachment_13957678\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957678\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED.jpg\" alt=\"A sauce-drenched wet burrito on a plate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-07-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The wet burrito at Todos. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And his menudo, that famous hangover cure, may have been the best I’ve ever tasted — the tripe and the jiggly beef trotter slow-simmered until they’re slurpably soft, the broth as clean and clarifying as you can imagine. During La Casita’s glory years, the restaurant was “like a \u003ca href=\"https://www.instagram.com/p/BksX-98HDv8HkCi5N3oYRFh-A0j-YL-HWb7rE80/\">hangover headquarters\u003c/a>,” Martinez recalls, as customers lined up for their morning menudo fix on Saturdays and Sundays — and even Mondays, when the really serious drinkers would call in sick. “I call it food for the soul, man,” he says.\u003c/p>\n\u003cp>After his long hiatus, Martinez says it means the world to him to bring these dishes back to Oakland now, at a restaurant with an even wider reach. He thinks about how important it is for him to carry on his family’s legacy — about how much he loved watching his dad cook and how his grandmother opened La Estrellita, one of Fruitvale’s first Mexican restaurants.\u003c/p>\n\u003cfigure id=\"attachment_13958129\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut.jpg\" alt=\"A chef puts plates of food that are ready to be served onto the pass inside a restaurant kitchen.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240509-MENUDO-KING-MD-04_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For Martinez, operating a restaurant in Oakland is a matter of family pride — and Town pride. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is the matter, too, of repping his neighborhood and hometown. In the old La Casita days, in almost every photo of the restaurant that Martinez posted on social media, he’s posing next to the mural on the outside. It reads, in boldface lowrider-style lettering, “\u003ca href=\"https://www.instagram.com/p/B8Wqnj_laPncUFgduyw_OWl0eoCNWkrXbwZVZk0/\">Oakland Over Everything\u003c/a>” — an encapsulation of the chef’s Town pride.\u003c/p>\n\u003cp>“Me being from the Fruitvale district here in East Oakland, it was rough growing up. A lot of us didn’t make it; a lot of us are not doing good,” Martinez says. “For me to be blessed like this, it means a lot.”\u003c/p>\n\u003chr>\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>\u003ca href=\"https://www.instagram.com/todosmexican/\">\u003ci>Todos\u003c/i>\u003c/a>\u003ci> is located at 2315 Valdez St. in Oakland.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958114/todos-oakland-la-casita-comeback-menudo-pozole","authors":["11743"],"categories":["arts_1","arts_12276"],"tags":["arts_5016","arts_10278","arts_1297","arts_7944","arts_14985","arts_1143","arts_14062","arts_14984"],"featImg":"arts_13957679","label":"source_arts_13958114"},"arts_13958169":{"type":"posts","id":"arts_13958169","meta":{"index":"posts_1591205157","site":"arts","id":"13958169","found":true},"guestAuthors":[],"slug":"mill-valleys-sequoia-theatre-reopens-with-a-week-of-1-movies","title":"Mill Valley’s Sequoia Theatre Reopens With a Week of $1 Movies","publishDate":1716249776,"format":"standard","headTitle":"Mill Valley’s Sequoia Theatre Reopens With a Week of $1 Movies | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The 95-year-old Sequoia Theatre in downtown Mill Valley reopened on Monday, May 20, marking a rare movie theater reopening amid a \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">spate of closures\u003c/a>.\u003c/p>\n\u003cp>The theater, built in 1929, has been dark since last October, when the lease held by the movie theater chain Cinemark ran out. Over the past six months, its owner and new operator, the California Film Institute, upgraded the projectors and sound equipment and refurbished the lobby.\u003c/p>\n\u003cp>Starting May 20, the theater — newly christened as \u003ca href=\"https://www.sequoiafilm.org/\">Sequoia Cinema\u003c/a> — will celebrate by screening four days of classic films like \u003cem>Vertigo\u003c/em>, \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Back to the Future\u003c/em>, charging just $1 admission.\u003c/p>\n\u003cp>[aside postID='forum_2010101893696']The California Film Institute also runs the Smith Rafael Film Center in San Rafael, as well as the Mill Valley Film Festival.\u003c/p>\n\u003cp>An increasing number of Bay Area movie theaters have closed, including but not limited to the Century Cinema in Corte Madera, the Regency 6 in San Rafael, the Century Regency in San Rafael, the Albany Twin in Albany, Century Cinema in San Francisco, Embarcadero Cinema in San Francisco and the West Portal Theater in San Francisco. The Sequoia’s reopening, meanwhile, is a welcome outlier.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we do really great, unique programing, especially if there’s a local filmmaker or a local community partnership involved, people support it,” said Dan Zastrow, general manager of the Smith Rafael Film Center and Sequoia Cinema. “Every time I walk in the building, someone stops me to ask me about when we’re reopening. People are just excited about the cinema coming back.”\u003c/p>\n\u003cfigure id=\"attachment_13958182\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958182\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg\" alt=\"\" width=\"1920\" height=\"1582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1536x1266.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Sequoia Theater pictured in 1967. Eight years later, its main auditorium would be “twinned,” or split into two, as it is today. \u003ccite>(Courtesy of the Lucritia Little History Room, Mill Valley Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the local movie theaters that have closed in the past few years, Zastrow observed, had been operated by large chains like Regency, AMC, Landmark, Century and Cinemark.\u003c/p>\n\u003cp>“And nothing against the big chain theaters, which I love,” Zastrow said, adding that the Sequoia will inevitably show some mainstream films often seen at the region’s megaplexes. “But it’s a different kind of exhibition animal; it’s the next-big-film in, and low-grosser out. What we do is more community-focused and filmmaker-focused.”\u003c/p>\n\u003cp>Film booking at the Sequoia will be handled by Jan Klingelhofer, who also books the Smith Rafael Film Center. On May 31, the theater opens \u003cem>Edge of Everything\u003c/em>, by filmmakers Sophia Sabella and Pablo Feldman. The film was inspired by the writer and directors’ teenage years growing up in Mill Valley.\u003c/p>\n\u003cp>[aside postID='news_11952358']The Sequoia Theater may eventually get a significant remodel. In 2022, the California Film Institute \u003ca href=\"https://www.cityofmillvalley.org/966/Sequoia-Theater-Renovation-Plan\">filed plans with the city of Mill Valley\u003c/a> to dig out a lower ground floor and add a second story, increasing the number of auditoriums from two to four.\u003c/p>\n\u003cp>Zastrow could not comment on the exact details of the plans, or where they stand. “We’ll see where we are in a couple of years,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But, as we raise funds and plan for a renovation, we couldn’t leave the building dark. We had to operate it, keep it open and run film,” he said. “It’s just this incredibly beloved community cinema.”\u003c/p>\n\n","blocks":[],"excerpt":"The 95-year-old movie theater reopened Monday, marking a rare success story amid a spate of closures.","status":"publish","parent":0,"modified":1716266820,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":577},"headData":{"title":"Mill Valley’s Sequoia Theatre Reopens With a Week of $1 Movies | KQED","description":"The 95-year-old movie theater reopened Monday, marking a rare success story amid a spate of closures.","ogTitle":"Mill Valley’s Sequoia Theatre Reopens With a Week of $1 Movies","ogDescription":"The 95-year-old movie theater reopened Monday, marking a rare success story amid a spate of closures.","ogImgId":"","twTitle":"Mill Valley’s Sequoia Theatre Reopens With a Week of $1 Movies","twDescription":"The 95-year-old movie theater reopened Monday, marking a rare success story amid a spate of closures.","twImgId":"","socialDescription":"The 95-year-old movie theater reopened Monday, marking a rare success story amid a spate of closures.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Mill Valley’s Sequoia Theatre Reopens With a Week of $1 Movies","datePublished":"2024-05-20T17:02:56-07:00","dateModified":"2024-05-20T21:47:00-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958169","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958169/mill-valleys-sequoia-theatre-reopens-with-a-week-of-1-movies","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 95-year-old Sequoia Theatre in downtown Mill Valley reopened on Monday, May 20, marking a rare movie theater reopening amid a \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">spate of closures\u003c/a>.\u003c/p>\n\u003cp>The theater, built in 1929, has been dark since last October, when the lease held by the movie theater chain Cinemark ran out. Over the past six months, its owner and new operator, the California Film Institute, upgraded the projectors and sound equipment and refurbished the lobby.\u003c/p>\n\u003cp>Starting May 20, the theater — newly christened as \u003ca href=\"https://www.sequoiafilm.org/\">Sequoia Cinema\u003c/a> — will celebrate by screening four days of classic films like \u003cem>Vertigo\u003c/em>, \u003cem>The Wizard of Oz\u003c/em> and \u003cem>Back to the Future\u003c/em>, charging just $1 admission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101893696","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The California Film Institute also runs the Smith Rafael Film Center in San Rafael, as well as the Mill Valley Film Festival.\u003c/p>\n\u003cp>An increasing number of Bay Area movie theaters have closed, including but not limited to the Century Cinema in Corte Madera, the Regency 6 in San Rafael, the Century Regency in San Rafael, the Albany Twin in Albany, Century Cinema in San Francisco, Embarcadero Cinema in San Francisco and the West Portal Theater in San Francisco. The Sequoia’s reopening, meanwhile, is a welcome outlier.\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>“When we do really great, unique programing, especially if there’s a local filmmaker or a local community partnership involved, people support it,” said Dan Zastrow, general manager of the Smith Rafael Film Center and Sequoia Cinema. “Every time I walk in the building, someone stops me to ask me about when we’re reopening. People are just excited about the cinema coming back.”\u003c/p>\n\u003cfigure id=\"attachment_13958182\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958182\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg\" alt=\"\" width=\"1920\" height=\"1582\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-800x659.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1020x840.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/seq_history_04-1536x1266.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Sequoia Theater pictured in 1967. Eight years later, its main auditorium would be “twinned,” or split into two, as it is today. \u003ccite>(Courtesy of the Lucritia Little History Room, Mill Valley Public Library )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of the local movie theaters that have closed in the past few years, Zastrow observed, had been operated by large chains like Regency, AMC, Landmark, Century and Cinemark.\u003c/p>\n\u003cp>“And nothing against the big chain theaters, which I love,” Zastrow said, adding that the Sequoia will inevitably show some mainstream films often seen at the region’s megaplexes. “But it’s a different kind of exhibition animal; it’s the next-big-film in, and low-grosser out. What we do is more community-focused and filmmaker-focused.”\u003c/p>\n\u003cp>Film booking at the Sequoia will be handled by Jan Klingelhofer, who also books the Smith Rafael Film Center. On May 31, the theater opens \u003cem>Edge of Everything\u003c/em>, by filmmakers Sophia Sabella and Pablo Feldman. The film was inspired by the writer and directors’ teenage years growing up in Mill Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11952358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Sequoia Theater may eventually get a significant remodel. In 2022, the California Film Institute \u003ca href=\"https://www.cityofmillvalley.org/966/Sequoia-Theater-Renovation-Plan\">filed plans with the city of Mill Valley\u003c/a> to dig out a lower ground floor and add a second story, increasing the number of auditoriums from two to four.\u003c/p>\n\u003cp>Zastrow could not comment on the exact details of the plans, or where they stand. “We’ll see where we are in a couple of years,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“But, as we raise funds and plan for a renovation, we couldn’t leave the building dark. We had to operate it, keep it open and run film,” he said. “It’s just this incredibly beloved community cinema.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958169/mill-valleys-sequoia-theatre-reopens-with-a-week-of-1-movies","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_74"],"tags":["arts_10331","arts_10278","arts_11661","arts_13077","arts_5544","arts_585"],"featImg":"arts_13958183","label":"arts_140"},"arts_13958082":{"type":"posts","id":"arts_13958082","meta":{"index":"posts_1591205157","site":"arts","id":"13958082","found":true},"guestAuthors":[],"slug":"galileo-review-theater-berkeley-rep","title":"A Battle Between Science and Religion, With Galileo Caught in the Middle","publishDate":1715972105,"format":"standard","headTitle":"A Battle Between Science and Religion, With Galileo Caught in the Middle | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>During the Renaissance era, the conflicting bedfellows of religion and science had clear delineations, dictated by Earth’s highest stewards to Heaven’s gates. “Science asks questions, but the Bible gives the answers,” thundered Pope Urban VIII, verbalizing the view of many in Europe’s 16th and 17th centuries. \u003c/p>\n\u003cp>While Galileo Galilei fancied himself a strong purveyor of both the scientific and theological, his moral core of truth at the center of his existence faced a brutal reckoning — one that ultimately ripped both his body and soul to shreds.\u003c/p>\n\u003cp>[aside postID='arts_13957684']In the spellbinding yet problematic world premiere musical \u003cem>Galileo\u003c/em>, which opened May 15 at Berkeley Repertory Theatre, discoveries made in both science and religion complicate matters. Its storyline is greatly informed by the modern-day war on truth, loaded with a ceaselessly high-octane rock music score exploited mightily by the wicked talents of director Michael Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13958078\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galileo Galilei (Raúl Esparza) has taken root in his laboratory, a man of 45 who has trouble blindly accepting the religious view that Earth is the center of the universe. After all, that view had been challenged years prior by fellow polymath Nicolaus Copernicus in the famed heliocentric model, where Earth and other planets were shown to revolve around the sun.\u003c/p>\n\u003cp>An affirmation of those teachings, thanks to Galileo’s enhancement of the telescope, has proved unsatisfactory to the dominant biblical divinity of Catholic doctrine, which citizens believe to be infallible. Yet Galileo still carries some support, despite the dominance of Cardinal Morosini (Javier Muñoz), who gives no space for what he perceives as anti-Bible sentiments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13957845']The support of Galileo’s close ally Bishop Barberini (Jeremy Kushnier) contributes greatly to his desire to continue locking horns with the Catholic establishment, and when Barberini is elevated as pontiff and becomes Pope Urban VIII, Galileo is poised to break through and declare truth the victor. Yet an effort by the pope to slow the public acceleration of Galileo’s scientific theories, introduced in Galileo’s book comparing the Copernican system with the accepted and less truthful Ptolemaic system, comes with an offensive slight, accelerating Galileo’s demise. \u003c/p>\n\u003cfigure id=\"attachment_13958080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei, center) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many elements of spectacle allow the musical to brew and breathe within a white-hot fire, with music thrusting itself to the top of the ticket. Composers Michael Weiner and Zoe Sarnak unleash consecutive bangers, challenging their vocalists with vein-popping verve, melodies and divine harmonies as persistent as Galileo himself. Those compositions are nestled neatly inside Danny Strong’s book. \u003c/p>\n\u003cp>Each challenge is accepted by the cast, led by Broadway stalwart Esparza, who digs mightily into every ounce of his scintillating, grizzled register. A delicious counterpoint to Esparza’s wide-ranging vocals is his commitment to Galileo’s painful and joyous discoveries. His eyes accentuate each arc in every moment, a broken and beaten man who is constantly reminded that power decides truth, not the other way around.\u003c/p>\n\u003cfigure id=\"attachment_13958077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Kushnier’s mellifluity lives within its own constellation, a buttery-smooth falsetto that spotlights tenderness and admiration for Galileo, especially in his solo “By Thy Light I See.” Muñoz, Esparza’s fellow Broadway star, commands respect as the uncompromising Morosini, and Madelynn Mathews as Galileo’s embattled daughter Virginia, whose illegitimacy thrusts her away from love and into a cloistered life, gives a master class in vocals and empathy. These four craft a narrative that elevates the entire company in a show that gets louder and louder as time passes. \u003c/p>\n\u003cp>Where the piece needs harnessing begins late in the second act, when a certain theme carries on much too long, ultimately diluting the critical nature of its voice. It’s as if the concept of truth and its virtues need constant repeating, which drags the entire narrative down. A piece that moves towards three hours needs to slap incessantly; this is not the case here. \u003c/p>\n\u003cfigure id=\"attachment_13958081\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the show feels as if it’s hurtling somewhere with no expense spared, especially through the technical design. Scenic work by Tony Award winner Rachel Hauck pairs beautifully with Anita Yavich’s nuanced and sparkly costume plot. Jason H. Thompson, along with Kaitlyn Pietras, go all in on Christian symbolism through their passionate projection design, combined sharply with the lighting of Kevin Adams. \u003c/p>\n\u003cp>There are many morsels that challenge in Strong’s book, and a critical question is posed: “When does the truth cost too much?” Thankfully for Galileo, and in a lesson for the masses, a legacy and the truth are not for sale. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Galileo’ runs through June 23 at Berkeley Repertory Theatre in downtown Berkeley. \u003ca href=\"https://www.berkeleyrep.org/shows/galileo/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n","blocks":[],"excerpt":"The world premiere of 'Galileo' at Berkeley Rep is good, but long, and packed with rock music.","status":"publish","parent":0,"modified":1715972175,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":896},"headData":{"title":"Review: 'Galileo' at Berkeley Rep Is a Long Battle of Science and Religion | KQED","description":"The world premiere of 'Galileo' at Berkeley Rep is good, but long, and packed with rock music.","ogTitle":"A Battle Between Science and Religion, With Galileo Caught in the Middle","ogDescription":"","ogImgId":"","twTitle":"A Battle Between Science and Religion, With Galileo Caught in the Middle","twDescription":"","twImgId":"","socialTitle":"Review: 'Galileo' at Berkeley Rep Is a Long Battle of Science and Religion %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Battle Between Science and Religion, With Galileo Caught in the Middle","datePublished":"2024-05-17T11:55:05-07:00","dateModified":"2024-05-17T11:56:15-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958082","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958082/galileo-review-theater-berkeley-rep","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Renaissance era, the conflicting bedfellows of religion and science had clear delineations, dictated by Earth’s highest stewards to Heaven’s gates. “Science asks questions, but the Bible gives the answers,” thundered Pope Urban VIII, verbalizing the view of many in Europe’s 16th and 17th centuries. \u003c/p>\n\u003cp>While Galileo Galilei fancied himself a strong purveyor of both the scientific and theological, his moral core of truth at the center of his existence faced a brutal reckoning — one that ultimately ripped both his body and soul to shreds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957684","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the spellbinding yet problematic world premiere musical \u003cem>Galileo\u003c/em>, which opened May 15 at Berkeley Repertory Theatre, discoveries made in both science and religion complicate matters. Its storyline is greatly informed by the modern-day war on truth, loaded with a ceaselessly high-octane rock music score exploited mightily by the wicked talents of director Michael Mayer. \u003c/p>\n\u003cfigure id=\"attachment_13958078\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_147-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Kushnier (Bishop Maffeo Barberini) and Raúl Esparza (Galileo Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galileo Galilei (Raúl Esparza) has taken root in his laboratory, a man of 45 who has trouble blindly accepting the religious view that Earth is the center of the universe. After all, that view had been challenged years prior by fellow polymath Nicolaus Copernicus in the famed heliocentric model, where Earth and other planets were shown to revolve around the sun.\u003c/p>\n\u003cp>An affirmation of those teachings, thanks to Galileo’s enhancement of the telescope, has proved unsatisfactory to the dominant biblical divinity of Catholic doctrine, which citizens believe to be infallible. Yet Galileo still carries some support, despite the dominance of Cardinal Morosini (Javier Muñoz), who gives no space for what he perceives as anti-Bible sentiments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13957845","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The support of Galileo’s close ally Bishop Barberini (Jeremy Kushnier) contributes greatly to his desire to continue locking horns with the Catholic establishment, and when Barberini is elevated as pontiff and becomes Pope Urban VIII, Galileo is poised to break through and declare truth the victor. Yet an effort by the pope to slow the public acceleration of Galileo’s scientific theories, introduced in Galileo’s book comparing the Copernican system with the accepted and less truthful Ptolemaic system, comes with an offensive slight, accelerating Galileo’s demise. \u003c/p>\n\u003cfigure id=\"attachment_13958080\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_060-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei, center) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So many elements of spectacle allow the musical to brew and breathe within a white-hot fire, with music thrusting itself to the top of the ticket. Composers Michael Weiner and Zoe Sarnak unleash consecutive bangers, challenging their vocalists with vein-popping verve, melodies and divine harmonies as persistent as Galileo himself. Those compositions are nestled neatly inside Danny Strong’s book. \u003c/p>\n\u003cp>Each challenge is accepted by the cast, led by Broadway stalwart Esparza, who digs mightily into every ounce of his scintillating, grizzled register. A delicious counterpoint to Esparza’s wide-ranging vocals is his commitment to Galileo’s painful and joyous discoveries. His eyes accentuate each arc in every moment, a broken and beaten man who is constantly reminded that power decides truth, not the other way around.\u003c/p>\n\u003cfigure id=\"attachment_13958077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958077\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_102-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Christian Magby (Alessandro Tarantola) and Madalynn Mathews (Virginia Galilei) in the world premiere of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre.\u003c/figcaption>\u003c/figure>\n\u003cp>Kushnier’s mellifluity lives within its own constellation, a buttery-smooth falsetto that spotlights tenderness and admiration for Galileo, especially in his solo “By Thy Light I See.” Muñoz, Esparza’s fellow Broadway star, commands respect as the uncompromising Morosini, and Madelynn Mathews as Galileo’s embattled daughter Virginia, whose illegitimacy thrusts her away from love and into a cloistered life, gives a master class in vocals and empathy. These four craft a narrative that elevates the entire company in a show that gets louder and louder as time passes. \u003c/p>\n\u003cp>Where the piece needs harnessing begins late in the second act, when a certain theme carries on much too long, ultimately diluting the critical nature of its voice. It’s as if the concept of truth and its virtues need constant repeating, which drags the entire narrative down. A piece that moves towards three hours needs to slap incessantly; this is not the case here. \u003c/p>\n\u003cfigure id=\"attachment_13958081\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13958081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GLO_188-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Raúl Esparza (Galileo Galilei) and the cast of ‘Galileo: A Rock Musical’ at Berkeley Repertory Theatre. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, the show feels as if it’s hurtling somewhere with no expense spared, especially through the technical design. Scenic work by Tony Award winner Rachel Hauck pairs beautifully with Anita Yavich’s nuanced and sparkly costume plot. Jason H. Thompson, along with Kaitlyn Pietras, go all in on Christian symbolism through their passionate projection design, combined sharply with the lighting of Kevin Adams. \u003c/p>\n\u003cp>There are many morsels that challenge in Strong’s book, and a critical question is posed: “When does the truth cost too much?” Thankfully for Galileo, and in a lesson for the masses, a legacy and the truth are not for sale. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Galileo’ runs through June 23 at Berkeley Repertory Theatre in downtown Berkeley. \u003ca href=\"https://www.berkeleyrep.org/shows/galileo/\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958082/galileo-review-theater-berkeley-rep","authors":["11905"],"programs":["arts_140"],"categories":["arts_1","arts_967"],"tags":["arts_1270","arts_1237","arts_769","arts_585"],"featImg":"arts_13958079","label":"arts_140"},"arts_13958007":{"type":"posts","id":"arts_13958007","meta":{"index":"posts_1591205157","site":"arts","id":"13958007","found":true},"guestAuthors":[],"slug":"ybca-new-interim-ceo-jim-rettew","title":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts","publishDate":1715897916,"format":"standard","headTitle":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>[aside postid='arts_13952460,arts_13953653']YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. [ad fullwidth]\u003c/p>\n\u003cp>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. [aside postid='arts_13955613']\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” [aside postid='arts_13956575']\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Interim CEO Jim Rettew wants to rebuild public trust after the art center's censorship controversies. ","status":"publish","parent":0,"modified":1715980497,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1524},"headData":{"title":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts | KQED","description":"Interim CEO Jim Rettew wants to rebuild public trust after the art center's censorship controversies. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Amid Upheaval, a New CEO Steps in at Yerba Buena Center for the Arts","datePublished":"2024-05-16T15:18:36-07:00","dateModified":"2024-05-17T14:14:57-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13958007","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958007/ybca-new-interim-ceo-jim-rettew","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new CEO has stepped in to lead \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> (YBCA), the embattled San Francisco arts organization whose \u003ca href=\"https://www.kqed.org/arts/13953653/ybca-ceo-resigns-after-pro-palestinian-protest-and-boycott\">previous interim CEO abruptly resigned\u003c/a> in March during the fallout of a pro-Palestinian protest.\u003c/p>\n\u003cp>Jim Rettew, the new interim CEO, has previously held five interim leadership roles at various nonprofits. His background as a crisis management expert will be put to the test at YBCA, which has been embroiled in controversy since a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">Feb. 15 protest\u003c/a> during which eight artists spray painted and draped pro-Palestinian messages onto their own works in the \u003ci>Bay Area Now 9\u003c/i> exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13958014\" class=\"wp-caption aligncenter\" style=\"max-width: 906px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958014\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg\" alt=\"\" width=\"906\" height=\"1155\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew.jpg 906w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-800x1020.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-160x204.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Jim-Rettew-768x979.jpg 768w\" sizes=\"(max-width: 906px) 100vw, 906px\">\u003cfigcaption class=\"wp-caption-text\">Jim Rettew is YBCA’s new interim CEO. \u003ccite>(Jim Rettew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In response to the protest, former interim CEO Sara Fenske Bahat and the board closed the galleries, which remained shuttered for a month. In open letters, \u003ca href=\"https://docs.google.com/document/d/1ZAoljeQycemJrzYNDyVoSN0gc6ogp5B3jUzj77qua2g/edit\">artists\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSdLNnUvnx74rLWZKIJaHUsMt4qOogFrBZ2OIeUjKjM2gblk6Q/viewform\">staff\u003c/a> accused YBCA leaders of censorship. Bahat resigned on March 3, citing “antisemitic backlash” and “the actions of some of our own employees” in her letter to the board. (Staff and leadership denied each other’s allegations.) San Francisco Supervisor Hillary Ronen, meanwhile, voiced support for the artists, and proposed an examination of the city’s support of YBCA at an upcoming Board of Supervisors meeting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952460,arts_13953653","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>YBCA reopened in mid-March, but the turmoil continued. At least nine staff members have resigned in protest, according to employee comments during a public meeting. And YBCA now faces scrutiny from San Francisco’s Director of Cultural Affairs, who has proposed changes that would drastically alter how YBCA operates.\u003c/p>\n\u003cp>In an email interview, Rettew told KQED that he sees rebuilding public trust as one of YBCA’s biggest challenges, and that he’s spent his first few weeks on the job listening to employees.\u003c/p>\n\u003cp>“I’m now using those essential conversations to work with our staff to help deliver on the promises and aspirations of our organization,” he wrote. “I think that in many ways, the protest on Feb. 15 was a reflection of people asking the question: what do people expect from a cultural institution in 2024? We are working tirelessly to try to answer that question, and to create a space that is authentic and valuable to the public.”\u003c/p>\n\u003cfigure id=\"attachment_13954248\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954248\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/240313-YBCAARTISTS-JY-014-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Artists Against Genocide (B.A.A.A.G.) member Paz G displays design options at a screen-printing event artists organized outside of YBCA while the art center was closed in March 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An art center on taxpayer-funded property\u003c/h2>\n\u003cp>YBCA is under particular scrutiny because the private nonprofit enjoys significant, taxpayer-funded subsidies from the City and County of San Francisco. It occupies a city-owned building, rent free, on public land under a contract that’s subject to renewal through 2094. YBCA has also received tens of millions in taxpayer dollars since its founding in 1993; according to its most recent financial report, for fiscal year 2023, about 6% of its revenue and support came from the City and County of San Francisco. \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>Yerba Buena Gardens Conservancy, another nonprofit, manages the YBCA property, acting as an intermediary between YBCA and the city. In exchange for financial support and subsidies, YBCA is contractually obligated to offer “high-quality artistic programming to San Francisco residents and visitors.”\u003c/p>\n\u003cp>At the Conservancy’s most recent public board meeting on April 10, San Francisco’s Director of Cultural Affairs, Ralph Remington, sharply criticized YBCA for what he considers its failure to do so.\u003c/p>\n\u003cp>“With the level of subsidy YBCA receives … they should have been operating and maintaining the cultural facilities in a way that presents themselves as a world-class performing arts presenting, producing, exhibiting organization,” Remington said. “You’d have to go back into the distant past to see when that actually happened.”\u003c/p>\n\u003cfigure id=\"attachment_13958015\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958015\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Ralph-Remington-3_Photo-Credit-Aminda-Villa_0-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Director of Cultural Affairs Ralph Remington said YBCA needs to be ‘reined in’ at a recent board meeting. \u003ccite>(Aminda Villa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, YBCA significantly reduced its film programming in 2018 after \u003ca href=\"https://www.kqed.org/arts/13841205/curatorial-crisis-bay-area-art-institutions\">laying off the two-person department\u003c/a>. In 2020, it launched the \u003ca href=\"https://www.kqed.org/arts/13880296/ybca-launches-artist-power-center-resource-for-financially-struggling-artists\">Artist Power Center\u003c/a>, an online platform meant to connect artists to grants and job opportunities; it has since sunsetted that project.\u003c/p>\n\u003cp>“It turned into some kind of weird thinktank that should’ve been out in the woods somewhere, maybe,” said Remington at the Conservancy board meeting. “But for the level of public subsidy in the middle of the city … YBCA, in my opinion, needs to be reined in.”\u003c/p>\n\u003cp>At the board meeting, Remington contrasted YBCA with SOMArts, a significantly less resourced nonprofit that’s also located in a city-owned building. While YBCA enjoys a spacious, modern, centrally located facility, SOMArts needs significant seismic improvements, and is in a much less desirable location, below a freeway underpass and away from BART and downtown offices. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would put on the table that we could move SOMArts into YBCA to share with SOMA Pilipinas,” said Remington, referring to another vibrant, less resourced arts organization, “and they could activate the building.”\u003c/p>\n\u003cp>In a follow-up interview, Remington told KQED that these proposals are in their “embryonic” stages. He credited the Feb. 15 protesters, who now call themselves Bay Area Artists Against Genocide, with spurring important conversations about reforms at YBCA.\u003c/p>\n\u003cp>“I think the activists ultimately were successful because they drew attention to the issues at YBCA; they drew attention to the issue that they were actually protesting about,” he said in a video call. “And they brought about ultimate change that will happen with that organization as a result of these bold actions. … This is why civil disobedience and protest and having your voice heard is so important.”\u003c/p>\n\u003cfigure id=\"attachment_13952464\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-29-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Demonstators chant during a protest calling for a ceasefire in Gaza at the show ‘Bay Area Now’ at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staff members reveal a schism with leadership\u003c/h2>\n\u003cp>During the April 10 Conservancy board meeting, a handful of YBCA staff members spoke out during public comment, painting an image of broken trust between the art center’s leadership and YBCA workers. The employees said that, even amid leadership changes, they’ve spent years building relationships with artists and the public, and they now feel those relationships are in jeopardy due to the actions of the board and former CEO.\u003c/p>\n\u003cp>Rettew told KQED that he sees rebuilding trust with staff as one of his first priorities. (He declined to comment on recent staff resignations.) He also said that he’s working to make sure the art center fulfills its commitment to the city and its visitors.\u003c/p>\n\u003cp>“I cannot undo decisions that were made, or change what happened,” he said. “What I can do is help this organization move forward with integrity.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956575","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When asked about issues raised in the Feb. 15 protest, Rettew said YBCA would not join the Palestinian Campaign for an Academic and Cultural Boycott of Israel (PACBI), as artists demanded. (The boycott encourages international institutions to divest from Israeli institutions until Israel ends its siege and occupation of Gaza and the West Bank, among other conditions.)\u003c/p>\n\u003cp>When asked if YBCA would take a different approach to political messages in artists’ work, Rettew didn’t specify any changes. But he said that the censorship allegations “remain one of the most challenging and contentious issues of the past few months,” and underscored the institutions’ need to balance artistic expression with curatorial context.\u003c/p>\n\u003cfigure id=\"attachment_13953036\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953036\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg\" alt='A sign over a wool rug reads \"No More Blood Money - Ceasefire Now!\"' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/240215-YBCAGazaProtest-07-BL_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A sign covers art by Tracy Ren during a protest calling for a ceasefire in Gaza at the show Bay Area Now at Yerba Buena Center for the Arts in San Francisco on Feb. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rettew is now focused on YBCA’s upcoming programming. “I recognize that it is now our job to prove ourselves as a trustworthy partner to the community, and to artists, and the way that we will do that is by doubling down on our commitment to put on engaging and thought-provoking exhibitions, by filling our theater as many nights as possible, by putting together compelling public programs, and by working with our neighbors to continue the important work of bringing people downtown to the Yerba Buena District,” he wrote.\u003c/p>\n\u003cp>YBCA’s next exhibition, a \u003ca href=\"https://ybca.org/ybca-announces-nick-dong-11-to-88-an-immersive-solo-exhibition/\">solo show by Oakland artist Nick Dong\u003c/a>, opens on June 6 and will be on view through Aug. 25. A spring dance festival presented by San Francisco Ballet School is slated for May 22-24; there’s also a free, all-ages art workshop scheduled for May 22.\u003c/p>\n\u003cp>Meanwhile, Remington hopes the Yerba Buena Gardens Conservancy will arrive at a plan of action for YBCA by the fall. The proposed San Francisco Board of Supervisors public hearing on censorship allegations at YBCA has not been scheduled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958007/ybca-new-interim-ceo-jim-rettew","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10342","arts_10278","arts_3648","arts_1146","arts_1040","arts_1955"],"featImg":"arts_13954250","label":"arts"},"arts_13955066":{"type":"posts","id":"arts_13955066","meta":{"index":"posts_1591205157","site":"arts","id":"13955066","found":true},"guestAuthors":[],"slug":"del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis","title":"The San Francisco Couple Whose Lifelong Love Changed America","publishDate":1715978902,"format":"standard","headTitle":"The San Francisco Couple Whose Lifelong Love Changed America | KQED","labelTerm":{"term":8978,"site":"arts"},"content":"\u003cp>[dropcap]W[/dropcap]hen Del Martin and Phyllis Lyon co-authored \u003cem>Lesbian/Woman\u003c/em> in 1972, the effect was seismic. Dedicated to “daughters throughout the world who are struggling with their identity,” the book began with a clear, unequivocal explanation:\u003c/p>\n\u003cblockquote>\u003cp>A Lesbian is a woman whose primary erotic, psychological, emotional and social interest is in a member of her own sex.\u003c/p>\u003c/blockquote>\n\u003cp>That a book about lesbian culture would even require such a definition feels bizarre today. But the lifelong work of San Francisco couple Martin and Lyon is one of the reasons that so few people require such annotations now. \u003cem>Lesbian/Woman\u003c/em> didn’t just demystify same-sex female relationships — it calmly and clearly sought to normalize them. At the time, few representations of lesbians existed outside of lurid pulp fiction or psychology textbooks. \u003cem>Lesbian/Woman\u003c/em> changed the conversation and reassured queer women everywhere that there was nothing wrong with them.\u003c/p>\n\u003cp>[aside postid='arts_13889944']When Martin and Lyon began their relationship in 1952, after two years of friendship, America was a terrifying place to be LGBTQ. Looking back in 1995, the couple wrote an essay recalling the “climate of fear, rejection and oppression” that marked the earliest days of their 56-year romance. “Lesbians and gay men, if found out,” the pair wrote, “were subject to reprisals from all quarters of society: employers, police, military, government, family and friends.”\u003c/p>\n\u003cp>With that in mind — after moving into a Castro District apartment together on Valentine’s Day in 1953 — Martin and Lyon sought friendships with fellow lesbians outside of the oft-raided gay bars. That led to the establishment in 1955 of the \u003ca href=\"https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis\">Daughters of Bilitis\u003c/a> (DOB), the first lesbian-rights organization in the U.S.\u003c/p>\n\u003cp>Originally the idea of \u003ca href=\"https://www.instagram.com/queeriodicals/p/CFaBsyuAVGF/?img_index=1\">Rosalie Bamberger\u003c/a>, a local Filipina factory worker, the nonprofit started with just four couples. Martin was the club’s first president, and by the end of its first year, DOB had 15 official members. From there, the group expanded their ranks via the Daughters of Bilitis newsletter and, starting in October 1956, \u003ca href=\"https://archive.org/details/pub_ladder\">\u003cem>The Ladder\u003c/em>\u003c/a>, a groundbreaking lesbian magazine edited by Lyon. She held a degree in journalism from UC Berkeley, and had worked in magazines and newspapers since the ’40s — but here, she published under the pseudonym Ann Ferguson.\u003c/p>\n\u003cfigure id=\"attachment_13958039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/the-ladder-scaled-e1715901912416.jpg\" alt=\"Three black and white covers of magazines. The first shows an androgynous person, the second features two cats, and the third is a sketch of a couple, viewed from behind, watching a sunset.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Issues of ‘The Ladder,’ a magazine for lesbians that began publishing in 1956. \u003ccite>(The Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon’s pen name wasn’t the only reflection of the fear-of-being-found-out that marked the era: Daughters of Bilitis’ name came from \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Songs_of_Bilitis#:~:text=The%20Songs%20of%20Bilitis%20(%2Fb,work%20is%20considered%20a%20pseudotranslation.\">Songs of Bilitis\u003c/a>, \u003c/em>a collection of lesbian love poems published in 1894 by Pierre Louÿs, who claimed the text was based on ancient Greek scripts. If anyone asked, the women could say that DOB was merely a club for women who were passionate about Greek poetry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in 1960, when the organization’s first conference was held in the penthouse of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Hotel_Whitcomb\">Hotel Whitcomb\u003c/a>, all attendees were careful to wear skirts and dresses, lest they be accused of cross-dressing. (They were right to do so: SFPD’s “homosexual detail” showed up to see if anything nefarious was going on.) At one point, Martin and Lyon were so concerned about their office being raided and the DOB mailing list being exposed, they hid the document in the back of their station wagon.\u003c/p>\n\u003cp>Still, DOB persisted, acting as a support and social group, and as a source of information for its members. Even in the organization’s earliest days, Martin carried herself with an unrivaled fortitude. In 1959, she attended a Mattachine Society convention in Denver to voice her dissatisfaction with the gay organization’s attitude towards women. Pointing out that the group was 99% male, Martin announced from the stage: “Lesbians are not satisfied to be auxiliary members or second-class homosexuals. One of Mattachine’s aims is that of sexual equality. May I suggest that you start with the lesbian?”\u003c/p>\n\u003cp>Martin channeled that energy into her writing as well. Her first solo book, \u003ca href=\"https://www.goodreads.com/en/book/show/1142351\">\u003cem>Battered Wives\u003c/em>\u003c/a>, was published in 1976, becoming the first American book to discuss domestic violence in depth. By then, Martin was also the first out lesbian to have served on the National Organization of Women’s board of directors. Lyon was a fellow NOW member, which made them the first out lesbian couple to join.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he ’70s were a time of great change for Martin and Lyon. Daughters of Bilitis and \u003cem>The Ladder\u003c/em> both came to an unceremonious halt in 1970 because of intragroup politics and a couple of bad actors. Without either entity to pour their energy into, Martin and Lyon instead focused on writing \u003cem>Lesbian/Woman —\u003c/em> and this time, with incredible bravery, they used their real names. A year later came \u003cem>Lesbian Love and Liberation: The Yes Book of Sex, \u003c/em>a sex-positive guide that Martin and Lyon wrote to encourage tolerance, consent and frankness in the bedroom. The very first page came out guns blazing:\u003c/p>\n\u003cblockquote>\u003cp>Yes, everyone has a right to a good sex life — including persons who have physical disabilities. Yes, sexuality is the most individualistic part of a person’s life. It is up to each individual to determine and then to assume responsibility for her or his own sexuality. Yes, sex is okay in its varying modes of expression — if people know what they are doing, feel good about it and don’t harm others.\u003c/p>\u003c/blockquote>\n\u003cp>Less than two years after \u003cem>Lesbian/Woman’\u003c/em>s release, and just months after \u003cem>Lesbian Love and Liberation\u003c/em> came out, the Diagnostic and Statistical Manual of Mental Disorders finally stopped defining homosexuality as a mental illness.\u003c/p>\n\u003cp>By 1979, the couple had established the \u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Women’s Health Center\u003c/a> in San Francisco — a safe space for lesbian couples to receive healthcare. “We were trying to help lesbians find themselves,” Lyon said in 1989. “I mean, you can’t have a movement if you don’t have people that see that they’re worthwhile.” (Today, the clinic is also focused on serving trans, non-binary, gender non-conforming and intersex people.)\u003c/p>\n\u003cp>[aside postid='arts_13870056']Throughout the ’90s, as LGBTQ people increasingly found acceptance in America, Martin and Lyon celebrated how far they had come in a series of interviews and essays. While the \u003cem>San Francisco Examiner\u003c/em> referred to them as “the mothers of lesbian visibility,” the couple remained hilariously open about how long it took them to figure themselves out. In one 1992 interview, Martin joked about Lyon being a “straight lesbian for a while,” even after they were living together as a couple. Lyon laughed at the memory, admitting, “I was a little slow…”\u003c/p>\n\u003cp>In 2004, Martin and Lyon became the first same-sex couple to marry in San Francisco. At a mass wedding reception for 600 newlyweds on Feb. 23, 2004, Lyon said: “I think it’s important for a lot of the people that got married … but also for our friends who didn’t get married.”\u003c/p>\n\u003cfigure id=\"attachment_13958064\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg\" alt=\"A 2004 San Francisco marriage license.\" width=\"2560\" height=\"2362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-800x738.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1020x941.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1536x1417.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-2048x1890.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1920x1771.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Del Martin and Phyllis Lyon’s first marriage certificate. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unions were frustratingly short-lived — within a month, the California Supreme Court had declared every same-sex marriage that had just taken place in San Francisco invalid.\u003c/p>\n\u003cp>But four years later, Lyon and Martin proudly returned to City Hall and made things official once more, after the California Supreme Court’s landmark decision on marriage equality. The couple were literally first in line, just as they had been in 2004, and were married by then-Mayor Gavin Newsom — the man who had sanctioned their first wedding. They even wore the same \u003ca href=\"https://en.wikipedia.org/wiki/GLBT_Historical_Society#/media/File:GLBTHistoryMuseum.WeddingPantsuits12_10.jpg\">mauve and turquoise suits\u003c/a> they had worn for their first ceremony. (Those outfits are now held in San Francisco’s GLBT Historical Society’s permanent collection.)\u003c/p>\n\u003cp>[aside postid='pop_102855']It was an enormously meaningful day for the couple. When Martin died at the age of 87, less than three months after their wedding, Lyon said: “I am devastated, but I take some solace in knowing we were able to enjoy the ultimate rite of love and commitment before she passed.” Castro’s Pride flag and the flags at City Hall flew at half-mast in Martin’s honor.\u003c/p>\n\u003cp>Lyon soldiered on without her love for another 12 years. She died in 2020, aged 95, at home in San Francisco. On learning of the news, Gavin Newsom tweeted: “Phyllis — It was the honor of a lifetime to marry you & Del. Your courage changed the course of history.”\u003c/p>\n\u003cp>It would be a gross understatement to say that Del Martin and Phyllis Lyon’s love, and their willingness to speak openly and often about it, impacted America’s view of same-sex unions. The couple spent their whole lives putting themselves in the spotlight — and sometimes grave danger — to raise awareness, and to help women still struggling with their own sexualities.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, Lyon reminded the world why she and Martin had lived their lives in service. “If you’ve got stuff you want to change, you have to get out and work on it,” she said. “You can’t just sit around and say ‘I wish this or that was different.’ You have to fight for it.”\u003c/p>\n\n","blocks":[],"excerpt":"Del Martin and Phyllis Lyon, 'mothers of lesbian visibility,' spent their lives writing, organizing and celebrating their relationship.","status":"publish","parent":0,"modified":1716222388,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1623},"headData":{"title":"Honoring Lesbian Icons Del Martin and Phyllis Lyon | KQED","description":"Del Martin and Phyllis Lyon, 'mothers of lesbian visibility,' spent their lives writing, organizing and celebrating their relationship.","ogTitle":"The San Francisco Couple Whose Lifelong Love Changed America","ogDescription":"","ogImgId":"","twTitle":"The San Francisco Couple Whose Lifelong Love Changed America","twDescription":"","twImgId":"","socialTitle":"Honoring Lesbian Icons Del Martin and Phyllis Lyon%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The San Francisco Couple Whose Lifelong Love Changed America","datePublished":"2024-05-17T13:48:22-07:00","dateModified":"2024-05-20T09:26:28-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13955066/del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Del Martin and Phyllis Lyon co-authored \u003cem>Lesbian/Woman\u003c/em> in 1972, the effect was seismic. Dedicated to “daughters throughout the world who are struggling with their identity,” the book began with a clear, unequivocal explanation:\u003c/p>\n\u003cblockquote>\u003cp>A Lesbian is a woman whose primary erotic, psychological, emotional and social interest is in a member of her own sex.\u003c/p>\u003c/blockquote>\n\u003cp>That a book about lesbian culture would even require such a definition feels bizarre today. But the lifelong work of San Francisco couple Martin and Lyon is one of the reasons that so few people require such annotations now. \u003cem>Lesbian/Woman\u003c/em> didn’t just demystify same-sex female relationships — it calmly and clearly sought to normalize them. At the time, few representations of lesbians existed outside of lurid pulp fiction or psychology textbooks. \u003cem>Lesbian/Woman\u003c/em> changed the conversation and reassured queer women everywhere that there was nothing wrong with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13889944","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When Martin and Lyon began their relationship in 1952, after two years of friendship, America was a terrifying place to be LGBTQ. Looking back in 1995, the couple wrote an essay recalling the “climate of fear, rejection and oppression” that marked the earliest days of their 56-year romance. “Lesbians and gay men, if found out,” the pair wrote, “were subject to reprisals from all quarters of society: employers, police, military, government, family and friends.”\u003c/p>\n\u003cp>With that in mind — after moving into a Castro District apartment together on Valentine’s Day in 1953 — Martin and Lyon sought friendships with fellow lesbians outside of the oft-raided gay bars. That led to the establishment in 1955 of the \u003ca href=\"https://guides.loc.gov/lgbtq-studies/before-stonewall/daughters-of-bilitis\">Daughters of Bilitis\u003c/a> (DOB), the first lesbian-rights organization in the U.S.\u003c/p>\n\u003cp>Originally the idea of \u003ca href=\"https://www.instagram.com/queeriodicals/p/CFaBsyuAVGF/?img_index=1\">Rosalie Bamberger\u003c/a>, a local Filipina factory worker, the nonprofit started with just four couples. Martin was the club’s first president, and by the end of its first year, DOB had 15 official members. From there, the group expanded their ranks via the Daughters of Bilitis newsletter and, starting in October 1956, \u003ca href=\"https://archive.org/details/pub_ladder\">\u003cem>The Ladder\u003c/em>\u003c/a>, a groundbreaking lesbian magazine edited by Lyon. She held a degree in journalism from UC Berkeley, and had worked in magazines and newspapers since the ’40s — but here, she published under the pseudonym Ann Ferguson.\u003c/p>\n\u003cfigure id=\"attachment_13958039\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/the-ladder-scaled-e1715901912416.jpg\" alt=\"Three black and white covers of magazines. The first shows an androgynous person, the second features two cats, and the third is a sketch of a couple, viewed from behind, watching a sunset.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Issues of ‘The Ladder,’ a magazine for lesbians that began publishing in 1956. \u003ccite>(The Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lyon’s pen name wasn’t the only reflection of the fear-of-being-found-out that marked the era: Daughters of Bilitis’ name came from \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Songs_of_Bilitis#:~:text=The%20Songs%20of%20Bilitis%20(%2Fb,work%20is%20considered%20a%20pseudotranslation.\">Songs of Bilitis\u003c/a>, \u003c/em>a collection of lesbian love poems published in 1894 by Pierre Louÿs, who claimed the text was based on ancient Greek scripts. If anyone asked, the women could say that DOB was merely a club for women who were passionate about Greek poetry.\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>And in 1960, when the organization’s first conference was held in the penthouse of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Hotel_Whitcomb\">Hotel Whitcomb\u003c/a>, all attendees were careful to wear skirts and dresses, lest they be accused of cross-dressing. (They were right to do so: SFPD’s “homosexual detail” showed up to see if anything nefarious was going on.) At one point, Martin and Lyon were so concerned about their office being raided and the DOB mailing list being exposed, they hid the document in the back of their station wagon.\u003c/p>\n\u003cp>Still, DOB persisted, acting as a support and social group, and as a source of information for its members. Even in the organization’s earliest days, Martin carried herself with an unrivaled fortitude. In 1959, she attended a Mattachine Society convention in Denver to voice her dissatisfaction with the gay organization’s attitude towards women. Pointing out that the group was 99% male, Martin announced from the stage: “Lesbians are not satisfied to be auxiliary members or second-class homosexuals. One of Mattachine’s aims is that of sexual equality. May I suggest that you start with the lesbian?”\u003c/p>\n\u003cp>Martin channeled that energy into her writing as well. Her first solo book, \u003ca href=\"https://www.goodreads.com/en/book/show/1142351\">\u003cem>Battered Wives\u003c/em>\u003c/a>, was published in 1976, becoming the first American book to discuss domestic violence in depth. By then, Martin was also the first out lesbian to have served on the National Organization of Women’s board of directors. Lyon was a fellow NOW member, which made them the first out lesbian couple to join.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he ’70s were a time of great change for Martin and Lyon. Daughters of Bilitis and \u003cem>The Ladder\u003c/em> both came to an unceremonious halt in 1970 because of intragroup politics and a couple of bad actors. Without either entity to pour their energy into, Martin and Lyon instead focused on writing \u003cem>Lesbian/Woman —\u003c/em> and this time, with incredible bravery, they used their real names. A year later came \u003cem>Lesbian Love and Liberation: The Yes Book of Sex, \u003c/em>a sex-positive guide that Martin and Lyon wrote to encourage tolerance, consent and frankness in the bedroom. The very first page came out guns blazing:\u003c/p>\n\u003cblockquote>\u003cp>Yes, everyone has a right to a good sex life — including persons who have physical disabilities. Yes, sexuality is the most individualistic part of a person’s life. It is up to each individual to determine and then to assume responsibility for her or his own sexuality. Yes, sex is okay in its varying modes of expression — if people know what they are doing, feel good about it and don’t harm others.\u003c/p>\u003c/blockquote>\n\u003cp>Less than two years after \u003cem>Lesbian/Woman’\u003c/em>s release, and just months after \u003cem>Lesbian Love and Liberation\u003c/em> came out, the Diagnostic and Statistical Manual of Mental Disorders finally stopped defining homosexuality as a mental illness.\u003c/p>\n\u003cp>By 1979, the couple had established the \u003ca href=\"https://lyon-martin.org/\">Lyon-Martin Women’s Health Center\u003c/a> in San Francisco — a safe space for lesbian couples to receive healthcare. “We were trying to help lesbians find themselves,” Lyon said in 1989. “I mean, you can’t have a movement if you don’t have people that see that they’re worthwhile.” (Today, the clinic is also focused on serving trans, non-binary, gender non-conforming and intersex people.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13870056","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Throughout the ’90s, as LGBTQ people increasingly found acceptance in America, Martin and Lyon celebrated how far they had come in a series of interviews and essays. While the \u003cem>San Francisco Examiner\u003c/em> referred to them as “the mothers of lesbian visibility,” the couple remained hilariously open about how long it took them to figure themselves out. In one 1992 interview, Martin joked about Lyon being a “straight lesbian for a while,” even after they were living together as a couple. Lyon laughed at the memory, admitting, “I was a little slow…”\u003c/p>\n\u003cp>In 2004, Martin and Lyon became the first same-sex couple to marry in San Francisco. At a mass wedding reception for 600 newlyweds on Feb. 23, 2004, Lyon said: “I think it’s important for a lot of the people that got married … but also for our friends who didn’t get married.”\u003c/p>\n\u003cfigure id=\"attachment_13958064\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958064\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg\" alt=\"A 2004 San Francisco marriage license.\" width=\"2560\" height=\"2362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-800x738.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1020x941.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1536x1417.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-2048x1890.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/20240402_161657-1920x1771.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Del Martin and Phyllis Lyon’s first marriage certificate. \u003ccite>(Courtesy of the San Francisco History Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unions were frustratingly short-lived — within a month, the California Supreme Court had declared every same-sex marriage that had just taken place in San Francisco invalid.\u003c/p>\n\u003cp>But four years later, Lyon and Martin proudly returned to City Hall and made things official once more, after the California Supreme Court’s landmark decision on marriage equality. The couple were literally first in line, just as they had been in 2004, and were married by then-Mayor Gavin Newsom — the man who had sanctioned their first wedding. They even wore the same \u003ca href=\"https://en.wikipedia.org/wiki/GLBT_Historical_Society#/media/File:GLBTHistoryMuseum.WeddingPantsuits12_10.jpg\">mauve and turquoise suits\u003c/a> they had worn for their first ceremony. (Those outfits are now held in San Francisco’s GLBT Historical Society’s permanent collection.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_102855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It was an enormously meaningful day for the couple. When Martin died at the age of 87, less than three months after their wedding, Lyon said: “I am devastated, but I take some solace in knowing we were able to enjoy the ultimate rite of love and commitment before she passed.” Castro’s Pride flag and the flags at City Hall flew at half-mast in Martin’s honor.\u003c/p>\n\u003cp>Lyon soldiered on without her love for another 12 years. She died in 2020, aged 95, at home in San Francisco. On learning of the news, Gavin Newsom tweeted: “Phyllis — It was the honor of a lifetime to marry you & Del. Your courage changed the course of history.”\u003c/p>\n\u003cp>It would be a gross understatement to say that Del Martin and Phyllis Lyon’s love, and their willingness to speak openly and often about it, impacted America’s view of same-sex unions. The couple spent their whole lives putting themselves in the spotlight — and sometimes grave danger — to raise awareness, and to help women still struggling with their own sexualities.\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>In 2017, Lyon reminded the world why she and Martin had lived their lives in service. “If you’ve got stuff you want to change, you have to get out and work on it,” she said. “You can’t just sit around and say ‘I wish this or that was different.’ You have to fight for it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955066/del-martin-phyllis-lyon-lesbian-icons-lgbt-daughters-of-bilitis","authors":["11242"],"programs":["arts_8978"],"categories":["arts_1","arts_7862","arts_11615"],"tags":["arts_10278","arts_3226","arts_8177","arts_21841","arts_8263"],"featImg":"arts_13955067","label":"arts_8978"},"arts_13957394":{"type":"posts","id":"arts_13957394","meta":{"index":"posts_1591205157","site":"arts","id":"13957394","found":true},"guestAuthors":[],"slug":"bay-area-music-festivals-outdoor-concerts-summer-2024","title":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","publishDate":1715791536,"format":"standard","headTitle":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024 | KQED","labelTerm":{},"content":"\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n","blocks":[],"excerpt":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","status":"publish","parent":0,"modified":1715797947,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":2050},"headData":{"title":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts | KQED","description":"With big-ticket festivals and free events alike, there’s no shortage of live music options this summer. ","ogTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","ogDescription":"","ogImgId":"","twTitle":"10 Bay Area Music Festivals and Outdoor Concerts for Summer 2024","twDescription":"","twImgId":"","socialTitle":"Summer 2024: Bay Area Music Festivals and Outdoor Concerts %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Bay Area Music Festivals and Outdoor Concerts for Summer 2024","datePublished":"2024-05-15T09:45:36-07:00","dateModified":"2024-05-15T11:32:27-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Summer Guide 2024","sourceUrl":"https://www.kqed.org/arts/tag/summer-guide-2024","sticky":false,"nprStoryId":"kqed-13957394","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s something magical about Bay Area summers, with our famously not-too-hot, not-too-cold weather, plus ample access to natural wonders and, of course, too many concerts to choose from.\u003c/p>\n\u003cp>Of these dozen outdoor concerts and festivals, some are in public transit-accessible parks; others require a drive up to wine country. Some are worth the splurge; others are free. The Bay Area is full of curious listeners with eclectic taste, and there’s something for everybody here.\u003c/p>\n\u003cfigure id=\"attachment_13957398\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957398\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg\" alt=\"Blxst performs on stage wearing head-to-toe denim, in front of a backdrop with an image of an urban warehouse. \" width=\"1024\" height=\"702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-2149488033-768x527.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Blxst performs at the Outdoor Theatre during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 20, 2024 in Indio, California. \u003ccite>(Arturo Holmes/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/538974/frost-music-arts-festival-with-blxst-tickets\">Blxst\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 18, 2024\u003cbr>\nFrost Amphitheater, Stanford\u003cbr>\n$25-$55\u003c/em>\u003c/p>\n\u003cp>Blxst is the velvety-voiced R&B accompaniment to the big players in LA’s rap scene. On his recent Tupac-sampling single with Tyga and YG, “\u003ca href=\"https://youtu.be/BNUi6botHmw?si=KOEIb233f9ohL_yn\">West Coast Weekend\u003c/a>,” he comes off as a modern-day Nate Dogg with a nostalgic, G-funk feel. He also regularly collaborates with Northern California artists, including Kehlani and Mozzy. Blxst headlines this year’s student-organized Frost Music & Arts Festival at Stanford’s Frost Amphitheater. Joining him is singer-songwriter UMI, who often invites audiences to take a meditative pause in her uplifting live shows, and Alameda, whose eclectic sound blends R&B with indie rock and drum’n’bass.\u003c/p>\n\u003cfigure id=\"attachment_13931358\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931358\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg\" alt=\"The facial profile of a young Oakland rapper as he looks away from the camera\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_014-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in Oakland on June 9, 2023. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-880542274647\">Town Up Tuesday\u003c/a>\u003c/h2>\n\u003cp>\u003ci>May 21, 2024\u003cbr>\nLake Merritt Bandstand, Oakland\u003cbr>\nFree with RSVP\u003c/i>\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>Town Up Tuesday is a party with a purpose put on by Urban Peace Movement, a local nonprofit that fights mass incarceration. It seeks to uplift Oakland culture at a time when negative media narratives about the Town abound, and operates under the idea that music and culture can unite neighbors and make communities safer.\u003c/p>\n\u003cp>This year’s intergenerational lineup is full of heavy hitters, not least Too Short, \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">The Conscious Daughters\u003c/a> (Oakland’s premier ’90s female rap group) and a legendary surprise guest. Trunk Boiz (of “\u003ca href=\"https://youtu.be/KCNlDgSQuLg?si=pQlkEdeR5Bpi9Ivq\">Cupcake No Fillin\u003c/a>” fame!) and dance crew Animaniakz will serve up hyphy movement nostalgia. Other artists on the bill represent the diverse sounds of today’s generation, notably the quirky, experimental and soulful Michael Sneed and the darker and more streetwise ALLBLACK and \u003ca href=\"https://www.kqed.org/arts/13934803/1100-himself-oakland-rapper-thizzler\">1100 Himself\u003c/a>, among others.\u003c/p>\n\u003cfigure id=\"attachment_13872413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872413\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg\" alt=\"Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bottlerocknapavalley.com\">BottleRock\u003c/a>\u003c/h2>\n\u003cp>\u003cem>May 24–26, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: $243; three-day GA: sold out\u003c/em>\u003c/p>\n\u003cp>Set in beautiful wine country, BottleRock is a festival with broad appeal. Not only does its lineup feature all-time musical greats like Oakland funk band Tower of Power and Stevie Nicks (who’s enjoying a Gen Z-fueled career resurgence), but it’s also a place to experience pop’s vanguard. That includes Kali Uchis, the bilingual singer-songwriter whose dreamy, Spanish-language 2024 album \u003ci>Orquídeas\u003c/i> envelops listeners in a romantic exaltation of love and beauty. Megan Thee Stallion — who has the hip-hop world watching her every move following her explosive track “Hiss,” dissing basically the entire industry — will also grace the stage amid her highly anticipated Hot Girl Summer tour.\u003c/p>\n\u003cfigure id=\"attachment_13957397\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg\" alt=\"A band performs on a brightly lit studio stage. \" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1487126925-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Eslabon Armado band members Brian Tovar, Pedro Tovar, Damian Pacheco and Ulises González perform at “Despierta America” at Univision Studios on May 02, 2023 in Doral, Florida. \u003ccite>(John Parra/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.laondafest.com\">La Onda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 1–2, 2024\u003cbr>\nNapa Valley Expo, Napa\u003cbr>\nSingle-day GA: sold out; two-day GA: $358\u003c/em>\u003c/p>\n\u003cp>If you miss Maná’s set at BottleRock, the good news is that they’ll be back at the same Napa Valley fairgrounds one weekend later, this time headlining new Latin music festival La Onda. On its diverse lineup, you’ll find old-school rock en español acts like Mexican band \u003ca href=\"https://www.kqed.org/arts/13840289/mexican-rockers-cafe-tacvba-stand-in-solidarity-with-stateside-latinx-fans\">Cafe Tacvba\u003c/a>; Farruko, one of today’s hottest reggaetoneros; and rising young regional Mexican music stars Junior H, Fuerza Regida and Eslabón Armado, who combine styles as wide-ranging as trap and corridos.\u003c/p>\n\u003cfigure id=\"attachment_13937341\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg\" alt=\"two young boys dance on a deck beneath a pergola while a 29-year-old rapper eggs them on\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-36-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs beneath the pergola in his backyard, with two young guests, on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.whatstba.com/creator/Goodcompenny\">LaRussell’s Backyard Residency\u003c/a>\u003c/h2>\n\u003cp>\u003cem>June 2, July 7 and Aug. 4, 2024\u003cbr>\nThe Pergola, Vallejo\u003cbr>\nPay what you want\u003c/em>\u003c/p>\n\u003cp>LaRussell has \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">done it his way\u003c/a> at every step of his career — notably, building a pergola and stage in his parents’ Vallejo backyard, which has allowed him to essentially bypass the corporate venue ecosystem that can be very \u003ca href=\"https://www.theguardian.com/music/2024/apr/25/shocking-truth-money-bands-make-on-tour-taylor-swift\">disadvantageous to emerging artists\u003c/a>. These intimate shows truly feel like a family affair. When I checked one out last year, the audience was full of LaRussell diehards — even small children — rapping along enthusiastically to every bar. LaRussell’s team passed out ice packs and water bottles to protect fans from the heat. It really felt like a community. To get into one of these shows, you have to name your price for a ticket — and entry is not guaranteed. But that doesn’t mean tickets only go to the highest bidders, as LaRussell has said that he likes to keep his offerings accessible to fans of all income levels.\u003c/p>\n\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zarah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/san-francisco-juneteenth-parade-tickets-895705117117?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">Larry June and Goapele at San Francisco Juneteenth\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 8, 2024\u003cbr>\nFulton Street Plaza, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>The day of San Francisco’s Juneteenth Parade, there’s a free concert celebrating Black music and culture at Fulton Plaza. It stars Larry June, whose laidback, luxurious rhymes about real-estate deals and gourmet meals have put a spotlight back on San Francisco rap. He’ll be joined by angel-voiced R&B hitmaker \u003ca href=\"https://www.kqed.org/arts/13932465/goapele-closer-to-hip-hop\">Goapele\u003c/a>, whose classic song “Closer” continues to resonate with a new generation of Bay Area music lovers. \u003ca href=\"https://youtu.be/oJ8oXKYOYGE?si=tR5tLVb3_-96oWiZ\">Stunnaman02\u003c/a>, who’s currently on a major salad kick; Ronski, creator of the Fillmore anthem “\u003ca href=\"https://youtu.be/g2J_xGPGHjI?si=sCyP82bsmo8-MRB9\">That Filthy\u003c/a>”; Zion I collaborator Dustin Sharpe; and DJs Big Von, \u003ca href=\"https://www.kqed.org/arts/13956839/dj-d-sharp\">D Sharp\u003c/a>, Red Corvette, Daghe and World Famous Rick and Russ Show will represent the Bay’s wide-ranging, active hip-hop scene. Hosted by KMEL’s Shay Diddy, the concert also offers much in the way of jazz, soul and gospel, including Martin Luther’s Rebel Soul House Party, The Glide Choir and Fillmore Jazz Ambassadors. SF Poet Laureate Tongo Eisen-Martin will read, and the young Feline Finesse Dance Group will show off their moves.\u003c/p>\n\u003cfigure id=\"attachment_13840060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg\" alt=\"George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-668281006-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">George Clinton performs at the 2017 SESAC Pop Awards on April 13, 2017 in New York City. \u003ccite>(Theo Wargo/Getty Images for SESAC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.axs.com/events/534076/parliament-funkadelic-feat-george-clinton-tickets?skin=mountainwinery\">Parliament-Funkadelic featuring George Clinton\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jun 12, 2024\u003c/em>\u003cbr>\n\u003cem>Mountain Winery, Saratoga\u003c/em>\u003cbr>\n\u003cem>$49.50–$89.50\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a> is a national treasure. In the ’70s, the funk father and his bands, Parliament and Funkadelic, made hits that altered the course of American popular music. They influenced monumental stars like Prince, and became some of the most sampled acts in hip-hop history, paving the way for ’90s groups like The Coup and Digital Underground as well as more recent artists like Childish Gambino. Clinton pushed Afrofuturism forward — so much so that P-Funk’s spaceship stage prop has been immortalized in the Smithsonian. Though Clinton, now 82 years old, talked about retiring years ago — he said he funked too hard for his pacemaker — he’s continued touring with a new lineup of younger musicians.\u003c/p>\n\u003cfigure id=\"attachment_13916884\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916884\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Chaka-Khan-performs-at-Blue-Note-Jazz-Festival-in-St.-Helena-on-Friday-July-29-2022004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chaka Khan performs at Blue Note Jazz Festival in St. Helena on Friday, July 29, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays June 23-Aug. 25, 2024\u003cbr>\nSigmund Stern Recreation Grove, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Every Sunday this summer, there’s a free concert in the park at \u003ca href=\"https://www.kqed.org/arts/13957582/stern-grove-lineup-san-francisco-2024-free-concerts\">Stern Grove\u003c/a>. The series’ 87th season opens with a performance from queer indie rock duo Tegan and Sara on June 23. Other lineup highlights include psychedelic pop band Chicano Batman on June 30; R&B singer and saxophonist Masego on July 21; jazz-funk legend Herbie Hancock on Aug. 11 and a Big Picnic closer with queen of funk Chaka Khan on Aug. 25. But before you round up your friends and pack your cooler, make plans: RSVPs open a month before each concert date, and spots are limited.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10820718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"1440\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">The Mummies perform in Mosswood Park in 2015. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2024/558489?afflky=MosswoodMeltdown\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003cem>July 6–7, 2024\u003c/em>\u003cbr>\n\u003cem>Mosswood Park, Oakland\u003c/em>\u003cbr>\n\u003cem>Single day: $99+; two-day: $159+\u003c/em>\u003c/p>\n\u003cp>Punk festival Mosswood Meltdown is truly a family affair: In addition to teenage, 20-something and 30-something-year-old punks, you might see punk grandparents holding punk babies. And that vibe is reflected in its intergenerational lineup of alternative acts. Day one of the festival features ’80s art pop mainstays the B-52’s, and celebrates queer culture with a drag contest hosted by Peaches Christ and sets from Pansy Division and Hunx and His Punx. Day two, with OG garage punks The Mummies headlining, leans into hip-hop culture with a DJ set from 808 mastermind Egyptian Lover and the queen of New Orleans bounce, Big Freedia.\u003c/p>\n\u003cfigure id=\"attachment_13957500\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg\" alt=\"\" width=\"1024\" height=\"779\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-800x609.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-1020x776.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-160x122.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1898396915-768x584.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Tyla performs during the Times Square New Year’s Eve 2024 Celebration on December 31, 2023 in New York City. \u003ccite>(Noam Galai/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 9–11, 2024\u003c/em>\u003cbr>\n\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Single-day GA: $199+, three-day pass: $449+\u003c/em>\u003c/p>\n\u003cp>You can thank Beyoncé for the fact that Outside Lands is more country than ever this year: Post Malone and Shaboozey, both featured on Beyoncé’s \u003ci>Cowboy Carter\u003c/i>, are performing, and country hitmaker Sturgill Simpson is a headliner alongside Tyler, the Creator and the Killers. On the lineup you’ll also find buzzworthy breakout pop acts like Tyla, Renée Rapp and Victoria Monét. Outside Lands, which attracts tens of thousands of fans each day, prides itself on its wide appeal. In addition to its four main music stages, it features a queer performance zone called Dolores’, the open-air electronic music club SOMA and even a \u003ca href=\"https://www.kqed.org/arts/13956845/legal-weddings-married-outisde-lands-city-hall\">new wedding venue\u003c/a> — and that’s on top of its many culinary and cannabis offerings.\u003c/p>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29, 2021. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thegreekberkeley.com/events/khruangbin-240814\">Khruangbin\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Aug. 14–16, 2024\u003c/em>\u003cbr>\n\u003cem>Greek Theatre, Berkeley\u003c/em>\u003cbr>\n\u003cem>$69–$120\u003c/em>\u003c/p>\n\u003cp>No band better represents today’s psychedelic rock revival than Texan trio Khruangbin. Their vintage sound, recorded with warm fuzz as if on a reel-to-reel from the ’70s, combines global influences of Jamaican dub, Southeast Asian funk, surf rock and a country twang from their home state. The result is a soothing mélange that goes down slow — a perfect soundtrack for swaying under the night sky while slightly stoned, if that’s your persuasion. Celebrating their new, bilingual Spanish-English album \u003ci>A La Sala\u003c/i>, Khruangbin performs three nights in a row at Berkeley’s Greek Theatre. The second two are sold out, but Aug. 14 still has tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13932354\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Robert-Glasper-performs-at-Blue-Note-Jazz-Festival-on-Saturday-July-28-2023.-Estefany-Gonzalez-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert Glasper performs at Blue Note Jazz Festival on Saturday, July 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/black-radio-experience/\">The Black Radio Experience\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 30–Sept. 1, 2024\u003cbr>\nMeritage Resort & Spa, Napa\u003cbr>\nThree-day passes: $499+\u003c/i>\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>For jazz, grown-and-sexy R&B, lyrical hip-hop and general musical excellence, the Black Radio Experience is a new, more intimate event from the producers of the Blue Note Jazz Festival in Napa, which is on hiatus until 2025. Jazz pianist and prolific hip-hop collaborator Robert Glasper curated the lineup, which includes John Legend, Jill Scott and Andre 3000 (with his \u003ca href=\"https://www.rollingstone.com/music/music-news/why-andre-3000-stopped-rapping-1234880754/\">wooden flute\u003c/a>) as headliners. Also performing are Nile Rogers & Chic, Ledisi, Madlib, Andra Day, Christian McBride, Common and more, with Oakland-raised Sway Calloway as host.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13957394/bay-area-music-festivals-outdoor-concerts-summer-2024","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_10278","arts_22150","arts_22140","arts_585"],"featImg":"arts_13938053","label":"source_arts_13957394"},"arts_13958172":{"type":"posts","id":"arts_13958172","meta":{"index":"posts_1591205157","site":"arts","id":"13958172","found":true},"guestAuthors":[],"slug":"paleta-planeta-san-jose-mexican-popsicles","title":"San Jose’s Most Creative Paleta Cart Is Leveling Up the Mexican Ice Pop","publishDate":1716317353,"format":"standard","headTitle":"San Jose’s Most Creative Paleta Cart Is Leveling Up the Mexican Ice Pop | KQED","labelTerm":{},"content":"\u003cp>On a hot summer day, the sound of a paleta cart’s bells usually signals the arrival of bright red paletas de fresa, ice cream sandwiches and gumball-eyed Spider-Man popsicles.\u003c/p>\n\u003cp>But the ice pops inside \u003ca href=\"https://www.instagram.com/paletaplaneta/\">Paleta Planeta’s\u003c/a> galaxy-wrapped cart in San Jose are different. While the cart does sell some traditional Mexican fruit paletas, it also offers an ever-rotating selection of hybrid flavors like taro Oreo and avocado chocolate. Other flavors aren’t particularly Mexican, or what you’d think to put in a popsicle, at all — pumpkin pie, for instance.\u003c/p>\n\u003cp>The experimental approach has earned Paleta Planeta a cult following across the South Bay.\u003c/p>\n\u003cp>“Our paletas have traditional Mexican roots,” co-founder Mauricio Salazar says. “But we blend them with flavors from other cultures.”\u003c/p>\n\u003cp>Mauricio and his brother Luis Salazar started selling paletas from their parents’ garage in October 2021. They wanted to start their own business due to the uncertainty of the pandemic’s layoffs, and their cousins — third-generation paleteros in Texas — offered to teach them the basics. Now, the Salazars manufacture and sell their ice pops from a kitchen in the back of Zuñigas Restaurant in San Jose. While recipe development is a joint effort, Luis is the one who makes the paletas. Mauricio primarily handles events and social media. And Gabriel, their younger brother, helps with bookkeeping and invoicing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We grew up playing competitive soccer,” Mauricio says. “We understand the importance of having a team.”\u003c/p>\n\u003cfigure id=\"attachment_13958233\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958233\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right.jpg\" alt=\"Two men in rubber gloves hold up popsicles.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Mauricio (left) and Luis Salazar started their paleta business in 2021. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a team of two, Mauricio and Luis are able to produce and package a few hundred paletas per day with the use of a flash freezer. They fill metal paleta molds with fresh fruit purées and dunk them into a water-glycol bath, which freezes a batch within minutes. This is faster than waiting for paletas to solidify in a traditional freezer, and more importantly, it produces paletas that are light and airy.\u003c/p>\n\u003cp>The brothers take their craft seriously and have even traveled to the \u003ca href=\"https://es-us.noticias.yahoo.com/reposteros-espa%C3%B1oles-mexicanos-innovan-ser-223100688.html\">international paleta convention\u003c/a> in Mexico City to learn the flavors and techniques being used by new-wave paleteros. Indeed, what sets Planeta Paletas apart is the brothers’ creativity and dedication to offering unique flavor combinations.\u003c/p>\n\u003cfigure id=\"attachment_13958230\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958230\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake.jpg\" alt=\"Three colorful Mexican popsicles on top of a tray of ice.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A trio of colorful paletas. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes I go to the bar for inspiration,” says Luis. “If flavors work in a drink, they work in a paleta.” (A mojito inspired him to pair mint with fruit flavors like strawberry, pineapple and mango.) Mauricio keeps an eye out for potential ideas by keeping track of what fruits are in season and perusing boba shop menus.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13958114,arts_13953266,arts_13957666']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Their flavor combinations aren’t thoughtless mishmashes of trendy ingredients. The matcha horchata, for example, pairs a drink popular in Japan with one popular in Mexico highlighting the subtle nuttiness of each. It’s herbal, sweet, and, for anyone that’s a fan of both drinks, provides simultaneous flashes of the sophistication of sitting down for a cup of hot tea and the cooling-off effect of a refreshing agua fresca.\u003c/p>\n\u003cp>The Salazar brothers use mostly seasonal fruits for two reasons: Because they’re more flavorful, they require less additional sugar, and they present the opportunity to experiment with ingredients the Salazars wouldn’t typically consider. Luis is especially proud of a creation he made by pairing mamey sapote, a Mexican fruit that has notes of pumpkin and apricot, with mango, which brightens the earthiness of the sapote.\u003c/p>\n\u003cfigure id=\"attachment_13958237\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler.jpg\" alt=\"Ube brownie, mango maracuya lechera, mazapán paletas in a cooler.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Planeta Paleta is known for its creative, non-traditional flavors, and its use of seasonal ingredients. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My favorite is Planeta’s take on an orange cream pop. The paleta’s shattering exterior is made with mango and passionfruit which maintains the original creation’s tropical flavor while introducing a musky complexity. The interior swaps cream for lechera (i.e., Latin American condensed milk), which is sweeter and denser, balancing out the acidity of the fruits.\u003c/p>\n\u003cp>Other Paleta Planeta flavors are fun reinventions of Mexican classics. Candies like gansito and mazapan are suspended in ice to create a refreshing version of the treats. Abuelita brand Mexican hot chocolate is typically reserved for winter nights, but in ice pop form, you can bring it along for a beach day.\u003c/p>\n\u003cfigure id=\"attachment_13958238\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart.jpg\" alt='A purple, galaxy-themed paleta cart with the name of the business, \"Paleta Planeta,\" in a space-age font. ' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cart makes frequent appearances at a variety of South Bay events. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After years of hard work, the brothers are ready to take their business to the next step: a brick-and-mortar location in downtown San Jose, in the former 4th Street Pizza building across from City Hall. New additions include a system that will allow customers to customize their paletas with a variety of toppings. The Salazars expect to open their doors by July.\u003c/p>\n\u003cp>“We’re born and raised in Eastside San Jose,” Mauricio says, “so we’re excited to be a part of the city’s new wave of flourishing businesses.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.paletaplaneta.com/\">\u003ci>Paleta Planeta\u003c/i>\u003c/a>\u003ci> is currently located inside of Zuñiga’s Restaurant at 1783 Alum Rock Ave. Unit 20 in San Jose. When it opens, the new brick-and-mortar shop will be located at 150 E. Santa Clara St. For weekly hours and events, check their \u003c/i>\u003ca href=\"https://www.instagram.com/paletaplaneta/\">\u003ci>Instagram account.\u003c/i>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"Planeta Paletas will open a brick-and-mortar shop in San Jose later this summer.","status":"publish","parent":0,"modified":1716317353,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":924},"headData":{"title":"Paleta Planeta Is San Jose’s Most Creative Mexican Popsicle Cart | KQED","description":"Planeta Paletas will open a brick-and-mortar shop in San Jose later this summer.","ogTitle":"San Jose’s Most Creative Paleta Cart Is Leveling Up the Mexican Ice Pop","ogDescription":"","ogImgId":"","twTitle":"San Jose’s Most Creative Paleta Cart Is Leveling Up the Mexican Ice Pop","twDescription":"","twImgId":"","socialTitle":"Paleta Planeta Is San Jose’s Most Creative Mexican Popsicle Cart %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"San Jose’s Most Creative Paleta Cart Is Leveling Up the Mexican Ice Pop","datePublished":"2024-05-21T11:49:13-07:00","dateModified":"2024-05-21T11:49:13-07:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13958172","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13958172/paleta-planeta-san-jose-mexican-popsicles","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a hot summer day, the sound of a paleta cart’s bells usually signals the arrival of bright red paletas de fresa, ice cream sandwiches and gumball-eyed Spider-Man popsicles.\u003c/p>\n\u003cp>But the ice pops inside \u003ca href=\"https://www.instagram.com/paletaplaneta/\">Paleta Planeta’s\u003c/a> galaxy-wrapped cart in San Jose are different. While the cart does sell some traditional Mexican fruit paletas, it also offers an ever-rotating selection of hybrid flavors like taro Oreo and avocado chocolate. Other flavors aren’t particularly Mexican, or what you’d think to put in a popsicle, at all — pumpkin pie, for instance.\u003c/p>\n\u003cp>The experimental approach has earned Paleta Planeta a cult following across the South Bay.\u003c/p>\n\u003cp>“Our paletas have traditional Mexican roots,” co-founder Mauricio Salazar says. “But we blend them with flavors from other cultures.”\u003c/p>\n\u003cp>Mauricio and his brother Luis Salazar started selling paletas from their parents’ garage in October 2021. They wanted to start their own business due to the uncertainty of the pandemic’s layoffs, and their cousins — third-generation paleteros in Texas — offered to teach them the basics. Now, the Salazars manufacture and sell their ice pops from a kitchen in the back of Zuñigas Restaurant in San Jose. While recipe development is a joint effort, Luis is the one who makes the paletas. Mauricio primarily handles events and social media. And Gabriel, their younger brother, helps with bookkeeping and invoicing.\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>“We grew up playing competitive soccer,” Mauricio says. “We understand the importance of having a team.”\u003c/p>\n\u003cfigure id=\"attachment_13958233\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958233\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right.jpg\" alt=\"Two men in rubber gloves hold up popsicles.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Mauricio-Left-and-Luis-Right-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Mauricio (left) and Luis Salazar started their paleta business in 2021. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a team of two, Mauricio and Luis are able to produce and package a few hundred paletas per day with the use of a flash freezer. They fill metal paleta molds with fresh fruit purées and dunk them into a water-glycol bath, which freezes a batch within minutes. This is faster than waiting for paletas to solidify in a traditional freezer, and more importantly, it produces paletas that are light and airy.\u003c/p>\n\u003cp>The brothers take their craft seriously and have even traveled to the \u003ca href=\"https://es-us.noticias.yahoo.com/reposteros-espa%C3%B1oles-mexicanos-innovan-ser-223100688.html\">international paleta convention\u003c/a> in Mexico City to learn the flavors and techniques being used by new-wave paleteros. Indeed, what sets Planeta Paletas apart is the brothers’ creativity and dedication to offering unique flavor combinations.\u003c/p>\n\u003cfigure id=\"attachment_13958230\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958230\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake.jpg\" alt=\"Three colorful Mexican popsicles on top of a tray of ice.\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Vibras-Mix-Chile-Cucumber-Strawberry-Cheesecake-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A trio of colorful paletas. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes I go to the bar for inspiration,” says Luis. “If flavors work in a drink, they work in a paleta.” (A mojito inspired him to pair mint with fruit flavors like strawberry, pineapple and mango.) Mauricio keeps an eye out for potential ideas by keeping track of what fruits are in season and perusing boba shop menus.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13958114,arts_13953266,arts_13957666","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Their flavor combinations aren’t thoughtless mishmashes of trendy ingredients. The matcha horchata, for example, pairs a drink popular in Japan with one popular in Mexico highlighting the subtle nuttiness of each. It’s herbal, sweet, and, for anyone that’s a fan of both drinks, provides simultaneous flashes of the sophistication of sitting down for a cup of hot tea and the cooling-off effect of a refreshing agua fresca.\u003c/p>\n\u003cp>The Salazar brothers use mostly seasonal fruits for two reasons: Because they’re more flavorful, they require less additional sugar, and they present the opportunity to experiment with ingredients the Salazars wouldn’t typically consider. Luis is especially proud of a creation he made by pairing mamey sapote, a Mexican fruit that has notes of pumpkin and apricot, with mango, which brightens the earthiness of the sapote.\u003c/p>\n\u003cfigure id=\"attachment_13958237\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler.jpg\" alt=\"Ube brownie, mango maracuya lechera, mazapán paletas in a cooler.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cooler-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Planeta Paleta is known for its creative, non-traditional flavors, and its use of seasonal ingredients. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My favorite is Planeta’s take on an orange cream pop. The paleta’s shattering exterior is made with mango and passionfruit which maintains the original creation’s tropical flavor while introducing a musky complexity. The interior swaps cream for lechera (i.e., Latin American condensed milk), which is sweeter and denser, balancing out the acidity of the fruits.\u003c/p>\n\u003cp>Other Paleta Planeta flavors are fun reinventions of Mexican classics. Candies like gansito and mazapan are suspended in ice to create a refreshing version of the treats. Abuelita brand Mexican hot chocolate is typically reserved for winter nights, but in ice pop form, you can bring it along for a beach day.\u003c/p>\n\u003cfigure id=\"attachment_13958238\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart.jpg\" alt='A purple, galaxy-themed paleta cart with the name of the business, \"Paleta Planeta,\" in a space-age font. ' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Cart-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The cart makes frequent appearances at a variety of South Bay events. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After years of hard work, the brothers are ready to take their business to the next step: a brick-and-mortar location in downtown San Jose, in the former 4th Street Pizza building across from City Hall. New additions include a system that will allow customers to customize their paletas with a variety of toppings. The Salazars expect to open their doors by July.\u003c/p>\n\u003cp>“We’re born and raised in Eastside San Jose,” Mauricio says, “so we’re excited to be a part of the city’s new wave of flourishing businesses.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.paletaplaneta.com/\">\u003ci>Paleta Planeta\u003c/i>\u003c/a>\u003ci> is currently located inside of Zuñiga’s Restaurant at 1783 Alum Rock Ave. Unit 20 in San Jose. When it opens, the new brick-and-mortar shop will be located at 150 E. Santa Clara St. For weekly hours and events, check their \u003c/i>\u003ca href=\"https://www.instagram.com/paletaplaneta/\">\u003ci>Instagram account.\u003c/i>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13958172/paleta-planeta-san-jose-mexican-popsicles","authors":["11903"],"categories":["arts_1","arts_12276"],"tags":["arts_22144","arts_10278","arts_1297","arts_22078","arts_14985","arts_14089","arts_1084"],"featImg":"arts_13958232","label":"source_arts_13958172"},"arts_13865555":{"type":"arts","id":"arts_13865555","meta":{"index":"posts_1716263798","site":"arts","id":"13865555","found":true},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1567715112,"format":"standard","title":"Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did","headTitle":"Thirty Seconds to Mars’ Jared Leto Started a Cult—Because of Course He Did | KQED","content":"\u003cp>In the middle of August, \u003ca href=\"https://www.thirtysecondstomars.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thirty Seconds to Mars\u003c/a>—the rock band Jared Leto has fronted since 1998—returned from an island retreat they’d held in Croatia for hundreds of fans and proudly posted photos that had a distinctly \u003ca href=\"https://en.wikipedia.org/wiki/Peoples_Temple\" target=\"_blank\" rel=\"noopener noreferrer\">Peoples Temple\u003c/a> vibe. (Well, if everyone at the Peoples Temple had been white, anyway.)\u003c/p>\n\u003cp>The pictures showed Leto doing his best Jesus impersonation in flowing white robes, addressing fans who sat dotingly at his feet, and being followed around by hoards of young women. The band captioned the photos “Yes, this is a cult.”\u003c/p>\n\u003cp>https://twitter.com/30SECONDSTOMARS/status/1161898672080089088\u003c/p>\n\u003cp>The band has been using that tagline for years now, on \u003ca href=\"https://www.facebook.com/thirtysecondstomars/photos/a.79739842822/10156128997402823/?type=1&theater\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a>, in \u003ca href=\"https://www.pinterest.com/pin/105201341268447507/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">merch\u003c/a> and in \u003ca href=\"https://www.youtube.com/watch?v=mLqHDhF-O28\" target=\"_blank\" rel=\"noopener noreferrer\">music videos.\u003c/a> In 2013, Leto \u003ca href=\"https://www.nytimes.com/2013/06/09/magazine/jared-letos-worst-kept-secret.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The New York Times Magazine\u003c/em>\u003c/a> that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.\u003c/p>\n\u003cp>Thirty Seconds to Mars fans already collectively refer to themselves as “\u003ca href=\"https://www.facebook.com/thirtysecondstomarsechelonarmy/\" target=\"_blank\" rel=\"noopener noreferrer\">the Echelon\u003c/a>,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GoIngKBPp3I\u003c/p>\n\u003cp>The Echelon also seems more than happy to don all-white uniforms and worship at Jared Leto’s feet.\u003c/p>\n\u003cp>https://twitter.com/Rio_To_Mars/status/1161959346730930176?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1161959346730930176&ref_url=https%3A%2F%2Fwww.pajiba.com%2Fcelebrities_are_better_than_you%2Fthirty-seconds-to-mars-and-jared-leto-have-a-cult-on-their-island.php\u003c/p>\n\u003cp>https://twitter.com/PaolaOnMars/status/1162018786360332289\u003c/p>\n\u003cp>https://twitter.com/altum68/status/1161909190287380480?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed&ref_url=https%3A%2F%2Fd-12821477842867798592.ampproject.net%2F1908231648370%2Fframe.html\u003c/p>\n\u003cp>Like many cults, the Echelon espouses an us vs. them mentality via the hashtag #YouWouldntUnderstand, a refrain Leto repeats often. That idea has pushed supporters to ever more fervent degrees of devotion any time the band receives any degree of criticism. (Scientology followers have been employing a similar methodology for decades.)\u003c/p>\n\u003cp>[aside postid='pop_4982']Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a \u003ca href=\"http://www.ecorazzi.com/2013/05/14/spend-the-night-in-jared-letos-bed-and-eat-vegan-pancakes/\" target=\"_blank\" rel=\"noopener noreferrer\">night sleeping in his bed\u003c/a>). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans \u003ca href=\"http://www.thrashhits.com/2013/07/jared-letos-asking-fans-to-get-30-seconds-to-mars-tattoos/\" target=\"_blank\" rel=\"noopener noreferrer\">get tattoos\u003c/a> in their honor. (Take that, \u003ca href=\"https://en.wikipedia.org/wiki/NXIVM\" target=\"_blank\" rel=\"noopener noreferrer\">NXIVM\u003c/a>!)\u003c/p>\n\u003cp>https://www.instagram.com/p/B1M5ewKH_Rl/\u003c/p>\n\u003cp>Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming \u003ca href=\"https://events.thirtysecondstomars.com/camp-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Mars,\u003c/a> taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)\u003c/p>\n\u003cp>[aside postid='pop_112213']There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”\u003c/p>\n\u003cp>Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">up to $900 for meet and greets\u003c/a> in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge \u003ca href=\"https://www.papermag.com/should-musicians-charge-meet-greets-2633176822.html?rebelltitem=11#rebelltitem11\" target=\"_blank\" rel=\"noopener noreferrer\">$658\u003c/a>, \u003ca href=\"https://splinternews.com/i-spoke-with-fans-at-a-rihanna-meet-and-greet-and-r8-o-1793850411\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna was still only charging $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\n\u003cp>https://www.instagram.com/p/a0ubIzEx2i/\u003c/p>\n\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”\u003c/p>\n\u003cp>[aside postid='arts_13902056']In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his \u003cem>My So-Called Life\u003c/em> days and then getting them scrubbed from the internet by threatening legal action.\u003c/p>\n\u003cp>Music journalist \u003ca href=\"https://twitter.com/RAZIQRAUF\" target=\"_blank\" rel=\"noopener noreferrer\">Raziq Rauf\u003c/a> told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”\u003c/p>\n\u003cp>It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.\u003c/p>\n\u003cp>https://www.instagram.com/p/B0Q1JDQHpub/\u003c/p>\n\u003cp>A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “\u003ca href=\"https://www.theguardian.com/music/2018/mar/26/thirty-seconds-to-mars-review-empty-euphoria-from-jared-letos-arena-rockers\" target=\"_blank\" rel=\"noopener noreferrer\">hollow and emotionally one-note\u003c/a>” (last year, \u003cem>Spin\u003c/em> described Leto’s lyrics as “\u003ca href=\"https://www.spin.com/2018/04/thirty-seconds-to-mars-america-review/\" target=\"_blank\" rel=\"noopener noreferrer\">meaningless word salad\u003c/a>“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1245,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":18},"modified":1705022202,"excerpt":"Jared Leto has long referred to his fans as a cult. With recent retreats and Jesus-y outfits, he's taking that to its literal conclusion. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Jared Leto has long referred to his fans as a cult. With recent retreats and Jesus-y outfits, he's taking that to its literal conclusion. ","title":"Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Thirty Seconds to Mars' Jared Leto Started a Cult—Because of Course He Did","datePublished":"2019-09-05T13:25:12-07:00","dateModified":"2024-01-11T17:16:42-08:00","image":"https://ww2.kqed.org/app/uploads/sites/2/2019/09/GettyImages-1070255424-1020x722.jpg","author":{"@type":"Person","name":"Rae Alexandra","jobTitle":"Staff Writer","url":"https://www.kqed.org/author/ralexandra"}},"authorsData":[{"type":"authors","id":"11242","meta":{"index":"authors_1716337520","id":"11242","found":true},"name":"Rae Alexandra","firstName":"Rae","lastName":"Alexandra","slug":"ralexandra","email":"ralexandra@kqed.org","display_author_email":false,"staff_mastheads":["arts"],"title":"Staff Writer","bio":"Rae Alexandra is Staff Writer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Born and raised in Wales, she started her career in London, as a music journalist for uproarious rock ’n’ roll magazine, \u003cem>\u003ca href=\"https://www.kerrang.com/features/an-oral-history-of-alternative-tentacles-40-years-of-keeping-punk-alive/\">Kerrang!\u003c/a>\u003c/em>. In America, she got her start at alt-weeklies including \u003ca href=\"https://archives.sfweekly.com/sanfrancisco/ArticleArchives?author=2127078&excludeCategoryType=Blog\">\u003cem>SF Weekly\u003c/em>\u003c/a> and the \u003ca href=\"https://www.villagevoice.com/author/raealexandra/\">\u003cem>Village Voice\u003c/em>\u003c/a>, and freelanced for a great many other publications. Her undying love for San Francisco has, more recently, turned her into \u003ca href=\"https://www.kqed.org/arts/tag/bayareahistory/\">a history nerd\u003c/a>. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture.","avatar":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twitter":"raemondjjjj","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["editor"]},{"site":"bayareabites","roles":["editor"]},{"site":"science","roles":["editor"]}],"headData":{"title":"Rae Alexandra | KQED","description":"Staff Writer","ogImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ralexandra"}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","width":1200,"height":630},"twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"twitterCard":"summary_large_image"},"tagData":{"tags":["commentary","religion"]}},"guestAuthors":[],"slug":"thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"articleAge":"0","path":"/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of August, \u003ca href=\"https://www.thirtysecondstomars.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thirty Seconds to Mars\u003c/a>—the rock band Jared Leto has fronted since 1998—returned from an island retreat they’d held in Croatia for hundreds of fans and proudly posted photos that had a distinctly \u003ca href=\"https://en.wikipedia.org/wiki/Peoples_Temple\" target=\"_blank\" rel=\"noopener noreferrer\">Peoples Temple\u003c/a> vibe. (Well, if everyone at the Peoples Temple had been white, anyway.)\u003c/p>\n\u003cp>The pictures showed Leto doing his best Jesus impersonation in flowing white robes, addressing fans who sat dotingly at his feet, and being followed around by hoards of young women. The band captioned the photos “Yes, this is a cult.”\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1161898672080089088"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The band has been using that tagline for years now, on \u003ca href=\"https://www.facebook.com/thirtysecondstomars/photos/a.79739842822/10156128997402823/?type=1&theater\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a>, in \u003ca href=\"https://www.pinterest.com/pin/105201341268447507/?lp=true\" target=\"_blank\" rel=\"noopener noreferrer\">merch\u003c/a> and in \u003ca href=\"https://www.youtube.com/watch?v=mLqHDhF-O28\" target=\"_blank\" rel=\"noopener noreferrer\">music videos.\u003c/a> In 2013, Leto \u003ca href=\"https://www.nytimes.com/2013/06/09/magazine/jared-letos-worst-kept-secret.html\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>The New York Times Magazine\u003c/em>\u003c/a> that it was “a joke, a response to journalists saying, ‘You have such a cult following.'” This is the first time, though, that the band has taken the reference to its most literal conclusion, even though they’ve been holding “summer camps” since 2015, and taking every opportunity to financially fleece their audience since the very beginning.\u003c/p>\n\u003cp>Thirty Seconds to Mars fans already collectively refer to themselves as “\u003ca href=\"https://www.facebook.com/thirtysecondstomarsechelonarmy/\" target=\"_blank\" rel=\"noopener noreferrer\">the Echelon\u003c/a>,” and are a group that seems overwhelmingly immersed not in music nerd-dom, but rather a more general sort of love for the community surrounding the band. The four-year-old video below doesn’t bother itself with the band’s music. Instead, it more closely resembles a commercial for a megachurch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GoIngKBPp3I'\n title='//www.youtube.com/embed/GoIngKBPp3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Echelon also seems more than happy to don all-white uniforms and worship at Jared Leto’s feet.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1161959346730930176"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1162018786360332289"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1161909190287380480"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Like many cults, the Echelon espouses an us vs. them mentality via the hashtag #YouWouldntUnderstand, a refrain Leto repeats often. That idea has pushed supporters to ever more fervent degrees of devotion any time the band receives any degree of criticism. (Scientology followers have been employing a similar methodology for decades.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_4982","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Leto is acutely aware of this degree of fan dedication (which is why the band once held a competition in which—appropriateness be damned—the prize was a \u003ca href=\"http://www.ecorazzi.com/2013/05/14/spend-the-night-in-jared-letos-bed-and-eat-vegan-pancakes/\" target=\"_blank\" rel=\"noopener noreferrer\">night sleeping in his bed\u003c/a>). In 2013, he said, “If people like Thirty Seconds to Mars, they really, really, really like it… We have this cult, this family, these believers.” It’s this knowledge that has given the band a sense of entitlement so ingrained, they have been known to specifically request their fans \u003ca href=\"http://www.thrashhits.com/2013/07/jared-letos-asking-fans-to-get-30-seconds-to-mars-tattoos/\" target=\"_blank\" rel=\"noopener noreferrer\">get tattoos\u003c/a> in their honor. (Take that, \u003ca href=\"https://en.wikipedia.org/wiki/NXIVM\" target=\"_blank\" rel=\"noopener noreferrer\">NXIVM\u003c/a>!)\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"B1M5ewKH_Rl"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as cult members often demonstrate their devotion by throwing money at their chosen group, the most obvious way Leto fans show their commitment is by giving Thirty Seconds to Mars way too much of their cash. The band’s upcoming \u003ca href=\"https://events.thirtysecondstomars.com/camp-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Camp Mars,\u003c/a> taking place between Sept. 7–9 in Malibu, charges $999 for two nights of outdoor camping, and you have to bring your own tent and supplies. (The getaway includes daytime outdoor activities like rock-climbing and archery, plus two Thirty Seconds to Mars concerts, which the band calls Church of Mars.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_112213","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There are several increasingly expensive dorm options, but the only way to sleep in a space that isn’t shared with strangers is by throwing down $6,499 for a “VIP experience.” Day passes do not offer much better value, with costs at $349 for a show, some snacks and the cheerful caveat: “This pass does NOT include a photo with the band.”\u003c/p>\n\u003cp>Hardcore Thirty Seconds to Mars fans have become accustomed to paying hundreds or thousands of dollars for crumbs. This is a band that has charged \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">up to $900 for meet and greets\u003c/a> in which they are sometimes removed to the point of literally wearing surgical gloves. (To put that in perspective, One Direction used to charge \u003ca href=\"https://www.papermag.com/should-musicians-charge-meet-greets-2633176822.html?rebelltitem=11#rebelltitem11\" target=\"_blank\" rel=\"noopener noreferrer\">$658\u003c/a>, \u003ca href=\"https://splinternews.com/i-spoke-with-fans-at-a-rihanna-meet-and-greet-and-r8-o-1793850411\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna was still only charging $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"a0ubIzEx2i"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ just to have early entry [to a concert]. Over priced, however, it was the BEST show ever.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902056","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In addition to the obvious financial benefits, wrapped up in all of this cult business is Jared Leto’s untethered self-absorption. In 2013, Leto went to the trouble of buying the rights to goofy modeling photos from his \u003cem>My So-Called Life\u003c/em> days and then getting them scrubbed from the internet by threatening legal action.\u003c/p>\n\u003cp>Music journalist \u003ca href=\"https://twitter.com/RAZIQRAUF\" target=\"_blank\" rel=\"noopener noreferrer\">Raziq Rauf\u003c/a> told KQED: “After Leto sent cease and desist letters to some of his fans, I decided [to repost] the photos. I duly received very threatening legal notices of my own, so ceased and desisted. While it was amusing, Leto is a very wealthy and powerful man with very wealthy and powerful people in his team. He’s the one percent and I couldn’t compete with that.”\u003c/p>\n\u003cp>It was a moment that demonstrated how much Leto’s narcissism stretches beyond the bounds of normal celebrity.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"B0Q1JDQHpub"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A criticism frequently leveled at Thirty Seconds to Mars early in the band’s career was that they more closely resembled actors playing rock star dress-up than an actual, real-life band. Despite ongoing criticism from music journalists that the band’s sound is “\u003ca href=\"https://www.theguardian.com/music/2018/mar/26/thirty-seconds-to-mars-review-empty-euphoria-from-jared-letos-arena-rockers\" target=\"_blank\" rel=\"noopener noreferrer\">hollow and emotionally one-note\u003c/a>” (last year, \u003cem>Spin\u003c/em> described Leto’s lyrics as “\u003ca href=\"https://www.spin.com/2018/04/thirty-seconds-to-mars-america-review/\" target=\"_blank\" rel=\"noopener noreferrer\">meaningless word salad\u003c/a>“), pretending to be a rock star for long enough did eventually result in Leto becoming just that.\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>So could Leto’s persistent assertion that he’s the leader of a cult mean that too is finally becoming a reality? If one considers the band’s entire history, Thirty Seconds to Mars forming a cult doesn’t just seem like a reasonable possibility—it feels almost like an inevitability.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did","authors":["11242"],"categories":["arts_2303","arts_69","arts_75"],"tags":["arts_2767","arts_8501"],"featImg":"arts_13865595","label":"arts","isLoading":false,"hasAllInfo":true}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. 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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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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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