Podcasts about bay area music

On this episode, San Francisco singer/songwriter and multi-instrumentalist Anna Hillburg takes a sharp left turn from indie chamber pop into electronic grooves on her new EP "Dangerously Impressionable," an emotionally raw and therapeutic record disguised as a new wave dance banger.  Fun times!  Plus, two full hours of fresh music from the Bay and beyond.   

On this special episode of BEST OF West of Twin Peaks Radio, four recent local guest artists chat and dive deep into their latest LPs:  San Francisco alt-indie-folk band TOM CONNEELY & BIRDS OF PARADISE, Oakland atmospheric Americana group AUX MEADOWS, the vibey 60's Euro-chill/pop sounds of Oakland's ORGANI, and good ole school prog/power rock trio B.HAMILTON from Oakland.  

On this spotlight portion of West of Twin Peaks Radio, meet San Francisco's Mitch Rocket and get a deep sonic dive into his new EP "Live at the Retro-Future Revue," a genre-blending record filled with jazzy rock, rocky jazz,  and some psych pressed in-between.  

On this episode, San Francisco's Mitch Rocket chats it up about recording his band's latest EP "Live at the Retro-Future Revue" at the Golden Gate Park bandshell last year, the upcoming 2nd Annual R-F Revue May 24th, and his commitment to supporting local artists.  Plus two full hours of fresh music from the Bay and beyond.

On this episode, guest artist, Marin born-n-raised but now LA-based Jess Sylvester, talks about the growth of his project MARINERO, his new LP "La La La," how films inspired the album's cinematic sound, and why you can take the boy out of the Bay but you can't take the Bay out of the boy.  Plus, two full hours of fresh music from the Bay and beyond.  

On this episode, a celebration of teenaged artists.  Meet San Francisco emerging teen brother band Swami 3 and dive deep into their self-titled debut pop-rock album.  Also, a "where are they now" update of four other young artists and/or bands previously featured on West of Twin Peaks Radio:  More Fatter, Broken Compass Bluegrass, Asher Belsky and Satya.  Plus, two full hours of brand new music from the Bay and beyond.  

On this episode, meet Astral Americana band Aux Meadows....the lovely and experimental ambient alt-country project of three musicians who met at their kids' preschool in Oakland, which has developed into far more than a "dad" band.  Dive deep into their new LP "Draw Near."  Plus, two full hours of fresh music from the Bay and beyond.  

On this episode, a chat and deep sonic dive with guest artist Ryan Christoper Parks, frontman for the Oakland rock trio B. Hamilton.  The band just released a new, self-titled LP of truely wonderful Northern California rock -- influenced by the greats but entirely unique in its execution.  Plus, tons and tons of fresh music from the Bay and beyond.  

On this episode, San Francisco's Tom Conneely & Birds of Paradise chats it up about his nostalgia-provoking new LP "New Kind Palace," about his growth since his last album, and why he loves life on the road.  Plus, tons of fresh genre-bending tunes from the Bay and beyond.  

On this episode, meet emerging genre/generation-blending San Francisco band The 5 Highs - a group of musicians who bonded in a rehearsal studio parking lot after discovering they didn't like the other bands they were in (LOL).  Meet founding members Tata and Mellow, hear their story and dive deep into their new music.  Plus, tons of fresh tunes from the Bay and beyond.  

For your convenience, here is the interview and deep sonic dive portion ONLY of the most recent episode of West of Twin Peaks Radio, featuring San Francisco band The 5 Highs talking about their cross generational/genre band, and all their new singles.    Please refer to episode #226 for the whole two hour show, on all platforms except Spotify. 

On this episode, meet guest artist Oakland's Mike Walti - musician, producer, engineer and the creative force behind the project Organi, and dive deep into his sensuous new LP "Babylonia," a nostalgic sonic bath into 60's euro-pop with a Bay area twist.  Plus two full hours of fresh tunes from the Bay and beyond.  

On this episode, meet Joey Coe and Luna Fuentes of the emerging indie folk band Mount Saint Elias - a five-piece project out of Oakland whose tragic beginnings have helped define its music and its purpose.  Plus two full hours of fresh music from the Bay and beyond.  

On this episode, San Francisco artist Michelle Zheng chats about her project LUNAR NOON - a collaborative of numerous Bay area musicians she brought together to create an epic, 15-track progpop, cinematic, art jazz   LP called "a circle's round."  Hear the story and dive deep into the album.  Plus two full hours of fresh music from the Bay and beyond.  

On this year-ending episode, guest artists RAINBOW GIRLS chat about the sonic and lyrical evolution of their critically acclaimed new LP "Haunting," and the themes of grief, resilience, and the power of self and community it conveys to women and other marginalized people in these challenging times.  PLUS two full hours of fresh music from the Bay and beyond.  

Two hours of fresh music from the Bay and beyond, including a spotlight in this episode on San Francisco artist Benjamin Andrews, best know as lead guitarist for the band Con Brio.  Ben's upcoming debut solo EP "You're Doing Great" is filled with lushly orchestrated songs featuring his own tasty guitar work alongside other talented local musicians.   

On this episode, guest artist Ethan Miller of quintessential Northern California rock band Howlin Rain chats and dives deep into the band's epic 3 LP archival project "LOST AT SEA: Rarities, Outtakes and Tales from the Deep," 15 tracks of stellar 70's influenced rock revived and renewed from the cutting room floor.  Plus 2 hours of fresh tunes from the Bay and beyond.  

On this episode, legendary San Francisco artist Chuck Prophet talks about the three C's:  COVID, Cancer and Cumbia, while we dive deep into his new LP "Wake the Dead" featuring Salinas Cumbia band Qiensave.  Plus two full hours of fresh music from the Bay and beyond.  

Two full hours of fresh music from the Bay and beyond, including this episode's guest artist spotlight on Animal Prince - an emerging project from Oakland-based duo Fae Nageon de Lestang and Grant McLeod, creatively combining synths and electronics with violins and percussion resulting in a vintage 60's/70's pop sound with a modern twist.  

On this episode, meet emerging Oakland singer/songwriter Margot James....who burst out of the gate fully formed with a brilliant debut LP showing both sonic and lyrical maturity and creativity.  We chat and dive deep into the new album, "Talker."  Plus two full hours of fresh tunes from the Bay and beyond.  

On this episode, guest artist Kevin Linn of San Francisco chats it up about his project Sad Eyed Beatniks, dives deep into his new lo-fi neo-psych LP "Ten Brocades," and talks about Paisley Shirt Records, the cassette label he created for local "fog pop" artists like himself.  Plus two hours of fresh music from the Bay and beyond.  

On this episode, two full hours of fresh music from the Bay and beyond including a chat and deep sonic dive with guest artist, long-time Bay area musician Tom Relling, who's upcoming new LP "Long Time Later" is the stellar, no-skip, guitar-driven rock and roll album we've been waiting for!  

Flying into fall with a banger of a new episode featuring a guest artist spotlight on San Francisco psych-rock legend Kelley Stoltz, diving deep and chatting it up about his new LP "La Fleur," a creative flowering that he credits to a new family member, and his new role in the local music scene.  Plus two full hours of fresh tunes from the Bay and beyond.  

A special end-of-August episode featuring ALL Bay area artists who released new music this summer.  Plus two encore guest artist spotlights highlighting two terrific new summer LPs drops:  San Francisco collection Mild Universe's "Everything Must Change" and Oakland's Yea-Ming and the Rumors album "I Can't Have It All." 

This special Country-ish episode features encore guest artist spotlights on Bay area honky tonkin', toe-tappin,' cryin'-in-your-beer bands COUNTRY RISQUE and NOELLE AND THE DESERTERS.  Plus, tons of fresh new country-adjacent tunes from the Bay and beyond.  

Founded in 1978 by the visionary Charles "Chuck" Johnson, Soul Beat Network emerged as California's first African American television network dedicated to serving the vibrant African American community of Oakland, CA. With 24-hour programming that included R&B, rap, gospel entertainment, lifestyle shows, religious services, local and national news, political discussions, relationship advice, and more, Soul Beat quickly became a cultural cornerstone. Throughout its early years, Soul Beat Network was a launching pad for numerous artists, personalities, and comedians who would go on to achieve great success. Despite its closure in 2003, the legacy of Soul Beat endured in the hearts and memories of its dedicated audience. In the digital age, Soul Beat Network has been revitalized by Charles "Chuck" Johnson (no relation to the original founder) and is committed to recapturing the magic of its original format. Recognizing that today's viewers often prefer streaming services over traditional television, Soul Beat Network has adapted to meet contemporary demands while striving to return to television. Learn more about your ad choices. Visit megaphone.fm/adchoices

The perfect summer LP has just arrived!  Bay area dance-adelic band MILD UNIVERSE has just released its long-awaited debut LP, "Everything Must Change," and it's a bop!  Guest artists, saxophone player Karina Alterman and drummer Sam Jones chat about the LP, growing up in San Francisco, and re-energizing the SF music scene post-pandemic.  Plus 2 hours of brand new tunes from the Bay and beyond.  

On this episode, we lean into the many sub-genres of today's country music....with a spotlight on guest artist, Bay area-based Noelle and the Deserters and a chat and deep dive into her fantastic debut LP "High Desert Daydream".....a sonic journey from the mesas of Northern New Mexico to the Golden Hills of California.  Plus two full hours of fresh music from the Bay and beyond.   

On this episode, return guest artists Sour Widows from Oakland chat and dive into their incredibly deep and meaningful debut LP "Revival of a Friend," an album that took the long-time friends/band 7 years to release  - a time period that was particularly tumultuous as they suffered great losses and dealt with grief, and growth.  Plus two hours of fresh music from the Bay and beyond.  

D'Arcy has three of her pals on to discuss her family's magazine, BAY AREA MUSIC, and lets them in on a little family lore. But how does the hippie movement connect to bifocals? Listen and find out! Wikipedia and its trademarks are used with permission from the Wikimedia Foundation, the nonprofit that supports Wikipedia. The views expressed in WikiHole belong to SmartLess Media and are not endorsed or affiliated with Wikipedia.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On this episode, the local spotlight is on Yea-Ming Chen of Yea-Ming and the Rumours, the alt-indie band out of Oakland whose new LP "I Can't Have It All" is a sonic journey into self-acceptance.  Plus, two hours of fresh music from the Bay and beyond.  

Two hours of fresh music from the Bay and beyond, plus today's local guest artist spotlight on San Francisco's Slow Coast, the indie/NorCal beach pop project of Matt Lawton.  Hear our great chat and dive deep into his latest LP "Depths Like These" during the show's second, hyperlocal hour.  

Two full hours of eclectic fresh tunes from the Bay and beyond, including a guest artist spotlight on Richmond, California based guitarist/songwriter Victor Mitrani, aka LITTLE OIL.  His new LP "Twelve Songs" is a genre-fluid indie delight punctuated by Django-esque guitar rifts and layering.  Hear our chat and dive deep into the LP.  

On this episode, guest artist Derek Barber, aka PERHAPSY, has a conversation about the creative process and choosing art as a path, as we dive deep into his new shoegaze-adjacent indie LO "The Lost Paintings of Kathar."  Plus 2 full hours of brand new music from the Bay and beyond. 

In this special Best of West of Twin Peaks Radio, we revisit four guest artist segments from this year, spotlighting four top LP's of 2024:  The Helltones' "Medusa," King Dream's "Glory Daze V," Bad Tiger's "Bliss" and Wolf Jett's "Time Will Finally Come." 

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Living Legacies: LARRY THE MUSICAL x MISTER REY TRIBUTE Host Aisa Villarosa covers “Larry the Musical” a new theatrical production based on the book “Journey for Justice: The Life of Larry Itliong” written by Gayle Romasanta and the late Dr. Dawn Mabalon. Nomi aka Power Struggle and Aisa also honor an anchor and leader of the Bay Area Filipinx and civil rights community –  Mister REY. Links to Episode Features: Larry The Musical website: https://www.larrythemusical.com/   Allyson Tintiangco-Cubales: https://www.instagram.com/pinayism/?hl=en Billy Bustamante: https://www.billybustamante.com/ Mister REY Memorial GoFundMe https://misterrey.bandcamp.com/album/wonders-mysticisms-beat-tape Power Struggle https://soundcloud.com/mario-de-mira Show Transcripts Living Legacies: Larry the Musical x Mister REY tribute Opening: [00:00:00] Apex Express Asian Pacific expression. Community And cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board The Apex Express Aisa Villarosa: [00:00:28] You're listening to Apex Express on 94.1 KPFA Berkeley, 89.3 KPFB Berkeley, 88.1 KFC at Fresno and online at KPFA. org. Welcome, welcome, welcome. I am your host, Aisa Villarosa. I'm an artist, attorney, ethnic studies advocate, general rabble rouser, and lifetime fan of the Apex Express crew. Shout out to my homie Miko. Get comfy, get cozy. We have a wonderful show for you tonight. It's a show about a show, that is Larry The Musical, which is based on the book Journey for Justice: The Life of Larry Itliong, written by Gayle Romasanta, and the wondrous late great Dr. Dawn Mabolon. The story and songs are influenced by and honor our ancestors, and the musical debuts at San Francisco's very own Brava Theater running March 16th through April 14th, 2024. That means, seats are limited. So, in addition to checking out the show we have for you tonight, visit www.larrythemusical.com to get your tickets today, learn about this cast and crew. Now for our show. First up we'll hear about Larry Itliong's legacy of organizing, resistance, and community power building from Dr. Allyson Tintiangco-Cubales. Next, Larry The Musical director Billy Bustamante, previews the heart, soul, and talent behind this production. And, because we're pretty big of a deal here [laughs] we'll also hear a sneak peek of two songs from Larry The Musical. Finally, the artist Power Struggle will help me wrap up this episode by honoring an anchor and leader of the Bay Area Filipinx and civil rights community and our friend, Mister REY. Rest in power. All right, that's the show. Let's dig in. I'm here with Dr. Allyson Tintiangco-Cubales, one of the country's leading Ethnic Studies and Filipinx studies scholars and professors, co-founder and director of Community Responsive Education, and the educational consultant for Larry The Musical. Allyson, it's so wonderful to have you here. Allyson Tintiangco-Cubales: [00:02:34] My gosh, thank you so much for having me. I really appreciate this show and all the work that you've been doing for many years. Thank you so much. Aisa Villarosa: [00:02:41] For our dedicated Apex Express listeners who may not be familiar with the wonderful Larry Itliong. Can you talk a little bit about who he is and who he is to this particular Civil Rights Movement? Allyson Tintiangco-Cubales: [00:02:57] Larry Itliong. He was born in the Philippines, in San Nicolas Pangasinan. He came here at 15 years old. Imagine coming here at 15 years old. He only had a sixth grade education. And he came here, actually in order to pursue his studies and he moved to the United States in 1929. As you probably know, because of the Great Depression, it was difficult to find jobs. He was forced to work in the railroads and then eventually became a migrant farm worker. And he traveled all the way from like Montana, South Dakota, Washington, and finally landed here in California. So during that time, Larry Itliong learned of the plight suffered by Filipinos and other immigrants working in the fields. Larry Itliong was a prominent leader in one of the most important social justice movements in the US, and we call that the Farm Worker Movement. A lot of Filipinos involved along with Mexicanos. He organized a group of 1500 Filipinos to strike against the grape growers in Delano, California. Some people call that the great Delano Grape strike of 1965. Basically they were trying to fight for workers' rights. They had this strike for eight days. And there was tons of violence by the growers, hired hands, and even the sheriff department, and they were thrown out of the labor camp. Larry Itliong. He was strong and he remained tenacious and resilient. And he called upon someone very famous that many of us know Cesar Chavez, and Cesar Chavez' community, to join forces with the Filipinos and they striked again. Because of Larry Itliong, the two groups combined and they ended up becoming the United Farm Workers. And a lot of us know the United Farm Workers and a lot of it is attributed to Cesar Chavez, but really Larry Itliong really pushed that ability to create a coalition. To create a connection to really fight for collective liberation. So this unification between the farmworkers of all different ethnicities, not just Filipino and Mexicano was really unprecedented. And really set an example for many of us—many of us meaning workers and organizers—many of us learned from that movement, how to really create alignment, how to really create a coalition, how to really fight alongside each other. And that movement was very successful. You may or may not know this, but Larry Itliong also was the president of the Filipino American Political Association, the first national political Filipino American organization. And it was very crucial, between Filipino professionals and laborers, that grew out of the Delano Grape strike. Larry Itliong was instrumental in founding lots of things including the Pablo Agbayani Village, a Retirement Home built by volunteers for retired Filipino Manos, who no longer had families and needed a place to call home. I recently visited Agbayani Village with my family. Even in my own family, my husband, his father was one of the farm workers, and it means a great deal to actually be there at Agbayani Village, quite literally, you feel the spirits. And having, having brought my daughter there and she got to, you know, see, where our ancestors lived. Larry Itliong, he passed away in 1977 at the age of sixty-three, very young. He left behind his wife and seven children. But his accomplishments and his legacy, continues to live and we really reap the benefits from all the work that he did. Aisa Villarosa: [00:06:41] I got shivers at several points when you shared Allyson. Thank you. And I am told that as part of your work as educational consultant for Larry The Musical, that one of your unique roles is helping the cast see history in this moment and see what Larry's struggle and Larry's story is to them and their families. So I love that sort of full circle practice. It also means that for a musical to take on you know you've named some, some pretty heavy things, right? You're naming organizing struggle, you're naming the struggle against white supremacy. Can you talk a little bit about what makes this musical special and, and even to be able to do right by Larry and his story, how did you all bring this to life? Allyson Tintiangco-Cubales: [00:07:33] Whoa. That's a really important set of questions and I really appreciate the connections between what's happening on the stage and what's happening in our classrooms and, you know, what's really happening in our communities. It is a really important show. I think a lot of shows have said, “Oh, we're a hundred percent this, we're a hundred percent that.” But when I go into working with the cast, I really see a hundred percent Filipino, Filipina, Filipinx Americans who are really telling a story that is important. Larry's story is not glamorous, [laughs] you know, and I say that because I've seen a lot of Broadway shows. You know, I have a child who's a performer and I spend a lot of time in New York, and I really do love watching musicals. And so this genre is like happy times for me, right? I go in and I get, I mean, they start singing and I, I just want to cry right away [laughs]. But there's something so powerful, yes, about a hundred percent Filipino cast, but also telling a story about struggle, and about labor, about someone who's working class, who really has changed our lives. I think sometimes when I go to musicals, I try to find myself, you know, like on stage I'm like, which character am I? You know? And in this musical I really feel like I'm all the characters. And you will see this, you know, because there's Larry, of course, this, it's a story about Larry Itliong, but you will see characters, and the creative team has wonderfully weaved characters from different parts of that era, and then also maybe even parts of their own lives and their own families, and they land on stage. They are telling this story alongside Larry, and it's beautiful and I'm really, really excited for people to see it. I'm not going to, I'm not gonna give too much away. Aisa Villarosa: [00:09:39] [Laughs] People gotta buy tickets. Yes. Allyson Tintiangco-Cubales: [00:09:41] Buy your tickets and bring your tissue [laughs]. Because I really feel like people are going to not only see Larry on stage, but they're gonna see themselves, their families, their parents, their community, their ancestors, all of them there. I will say that, I had the fortune of working with the cast, specifically on a project called Tatlong Bagsak Talambuhay and what I said to the cast was, this work has to be different. This work cannot just be about telling one man's story. And so it's really important for them to understand their own story, their own family's legacy, and why they're doing this work. And so at the beginning of each of the rehearsals, there's one cast member who tells their story. Talambuhay, you know, telling their life story. So that every person is allowed to share their story on the stage, quite literally. And also to be able to make the connections to why they're there on that stage. I had one cast member come up to me last week and say, “I've never been part of a [laughs] a show like this. You know, like where I was seen.” And that's the power of Larry The Musical. It, it's definitely about Larry and how he has inspired us, but it is so much more. And so I'm really excited for people to be able to experience that. Aisa Villarosa: [00:11:18] I was lucky enough to attend the community preview y'all had put on in the fall. It was smashing and I could feel Dawn Mabalon's love and spirit in the room because so much of what you're saying is how are we creating a living archive, right? And there's so many stories that make up history that ultimately is intentionally not told or kept away from people. So it sounds like this is hopefully one of many opportunities for folks to either learn that history for the first time, or to learn it in a really freeing way. I want to talk a little bit about women. If we look at various movements across labor, thinking about the figures of labor, you know, you have Larry, you have Philip Vera Cruz. I am sure there are some strong, strong women in Larry. And as a Filipina we also see that the value of care work, of women really it's often invisibilized by history. Talk to us a little bit about, you know, what can we expect to see from the women in Larry? Are there any toxic narratives that are reversed or addressed by the musical? Allyson Tintiangco-Cubales: [00:12:32] I feel like you saw the script. [Laughs]. Aisa Villarosa: [00:12:34] I didn't. I did not. [Laughs]. Allyson Tintiangco-Cubales: [00:12:36] Oh, okay. Okay. I can't give up too much. It'd be really unfair, but I'll say that this begins with the strong women who did the research and who wrote the play, the musical, the book, the script. And I'll start with, a lot of the work is rooted in Dr. Dawn Bohulano's research. I mean, she really was going to tell Larry Itliong's story in an academic book. And before she passed, she was able to write Journey for Justice with Gayle Romasanta. It was, it quite literally went to press the day that she passed. Dr. Dawn Bohulano Mabalon had a dream to really tell Larry's story, but I know deep inside it wasn't just about Larry's story, it was a story about her family. It was a story about her ancestors, including the women. And so I think how beautiful it is to have quite literally the voice and research of Dr. Dawn Bohulano Mabalon in the script that Gayle Romasanta really was able to bring forth. So we have writers like Gayle Romasanta, Kevin Camia, and then writing the music we have Brian Pangilinan, and then you'll hear the sounds of course of Sean Kana. But when we talk and think about the women, the voices quite literally, the singing voices of the women are so powerful. I think sometimes people imagine women during that movement as being behind the men. In this show, that's not the case. I think of the work of Stacey Salinas, Dr. Stacey Salinas, who writes about Filipina farmworkers in the movement. She has some beautiful archives of Filipina women during that time. And you literally see them on the stage and you see them challenging men and you see them saying yes, we are part of this struggle. And so, although it's called Larry The Musical, Larry definitely isn't the main character by himself. Aisa Villarosa: [00:14:40] I love that. And what you shared also reminds me of thinking about the people power movement and the phrase makibaka huwag matakot, where there is power in struggle, right? If, if we can come together collectively. Turning to the musical, it's going to premiere soon. We hope that folks visit the Apex Express website [kpfa.org] where y'all can buy tickets. Please support this incredible work. What is your greatest hope for this musical? Allyson Tintiangco-Cubales: [00:15:11] Ooh, that's a good question. It caught me off guard. I secretly hope that this musical goes beyond the Bay Area, potentially travels, potentially goes to Broadway, maybe the Philippines. You know, I want people to know how wonderful our story is, our story. And you will really see our story in this. So yeah, I hope it makes it big. [Laughs] I, I really do. We deserve it. Aisa Villarosa: [00:15:41] Well, it's not a secret anymore. You, you manifested it, so now it's gotta happen, right? [Laughs]. Allyson Tintiangco-Cubales: [00:15:47] Yeah, I really do. I mean, I hope, I hope for all of that. And to be honest, I don't think the Pinnacle is Broadway in my mind. It might've been when we first started the project, but really, I, I feel like most importantly is for people to know the stories of our people. And Larry The Musical can really bring that out. And I hope people can see themselves on stage. I mean, that is a big goal for them to be able to see themselves on stage. Aisa Villarosa: [00:16:13] Allyson, it's been so wonderful talking with you. Before we head out, is there anything else you'd like to share with the listeners? Allyson Tintiangco-Cubales: [00:16:21] There's so many struggles going on right now in the world, whether that be, like the manifestation of colonialism and imperialism everywhere, to what's happening in our classrooms. I feel like really key that Larry The Musical is ethnic studies. I think [it's] important that people know that the goal of ethnic studies is collective liberation and we do that by centering the voices of people of color in the first person, ultimately to eliminate and eradicate racism and white supremacy. I mean, like it's all of that. Aisa Villarosa: [00:16:50] Yeah. Allyson Tintiangco-Cubales: [00:16:51] But I want people to know that Larry is that, and I think sometimes we get stuck on wanting representation, like, oh, I wanna see a Filipino on stage. And so we vote for people on those shows and we get so excited. Aisa Villarosa: [00:17:05] Or that becomes the ceiling, right? Allyson Tintiangco-Cubales: [00:17:08] Exactly. It becomes the ceiling. We have made it because we've seen ourselves on TV or we've seen ourselves on a stage on Broadway, but I think it's not enough. Because those stories oftentimes are not the stories of our own people. We often play characters who are not ourselves, and we oftentimes have to compromise our integrity to actually become famous. And so for me, when I think about Larry The Musical, it does not compromise. It does not compromise. And it really is about our stories and us telling our stories in the first person. I'll leave it at that. Aisa Villarosa: [00:17:44] I love that. It's such a great way to send us off. And as someone who used to work in the arts and has been shushed at primarily white events, I love the decolonization of the arts as well. It's arts and ethnic studies. So many folks in our work do this work because of a really important moment in ethnic studies that came to them. Unfortunately, because of the forces that are out there trying to stop ethnic studies, for many that revelation comes kind of late in life or sometimes doesn't come at all. So, please let us have more Larry, more stories like Larry and more ways for folks to access this sort of awakening. Thank you so much, Allyson. It has been a pleasure. Allyson Tintiangco-Cubales: [00:18:31] Thank you. Thank you. Thank you for all the work that you do. Aisa Villarosa: [00:18:34] As Allyson shared, Larry The Musical is a lesson in living civil rights history, a chronicle of the racial violence faced by Filipinx organizers and how they mobilize to overcome it. This plays out in the musical's track, “Watsonville,” which we're about to preview. In the 1930s, violence against Filipinos was a daily occurrence. It was not out of the ordinary for Filipinos to get shot at, be beaten, or have their campos bombed. Two major events happened in January 1930, the Watsonville Riots and the bombing of the Filipino Federation of American Building in Stockton California. The Watsonville riots saw hundreds of Filipinos beaten and Fermin Tobera killed over four days of mob violence. White mobs beat and shot Filipinos, and in the end, no one was arrested. “Watsonville” follows our characters as these historic events unfold. It was written by Gayle Romasanta and Kevin Camia, music composed by Bryan Pangilinan and Sean Kana. Let's take a listen. SONG Aisa Villarosa: [00:19:39] You're listening to Apex Express on KPFA Radio with me, Aisa Villarosa. That was a special preview of “Watsonville” from Larry The Musical. I'm here with acclaimed New York City-based theater artist, director, performer teacher, and community-driven artivist Billy Bustamante, director of Larry The Musical. We are so honored to have you join us, Billy. Billy Bustamante: [00:21:02] Hi there. Thank you so much for having me. I'm so thrilled to be here. Aisa Villarosa: [00:21:06] Awesome. Well, we are going to dive into Larry The Musical. And a few months ago I had the honor of catching the community preview at the Brava Theater in San Francisco and it blew my socks off as a mentee of the great ate Dawn Mabalon, a hero and mentor gone too soon, it was beautiful to see her archiving come alive in song. For those who are new to Larry The Musical, can you tell us a little bit about what audiences can expect? Billy Bustamante: [00:21:38] Sure. When you come to the Brava Theater this spring, you will see a story about our shared Filipino American history, but even greater our shared American history brought to life on stage. You will see a story that centers Filipino Americans in the telling of that history. It is a musical that will make you laugh, will make you cry, will make you dance in your seat, and will hopefully make you step back out into the world as you leave the theater with a little more power in your hands. Aisa Villarosa: [00:22:06] Those all sound so incredible. Billy, can you share more, as someone who has been in the arts world for so long, why is this project near and dear to your heart? Billy Bustamante: [00:22:18] Larry means so much to me for so many reasons. I've been making theater now for a little over 20 years professionally. And throughout that time I have kind of had to hold two sides of myself in various capacities, right? I have my American-ness, and I have my Filipino-ness. As a born and raised Filipino American here in the States, I have always had to examine unconsciously how much of myself I can bring into an artistic space just because those spaces have predominantly been white led. Now that we are in a space that is created for by and about Filipino people telling a story that is for by and about Filipino people that really centers not just Filipino story, but the Filipino identity, not just in the product but in the process, that is a feeling I have literally never had before in my 42 years on this planet. And every time I step into this space, I am amazed at how much more myself I feel, and I can see that sensation flashing in every single person in the room. And it's on one side beautiful. It's like a beautiful thing to witness us all kind of come alive a bit more, expand into the space, be more of ourselves. And it's also a bit infuriating to know that it's taken me 42 years to get to this moment. This feeling of true belonging is something that I have grown more and more addicted to and that I continue to chase in any other experience that I have. Aisa Villarosa: [00:23:46] Wow. I'm getting a little goosebumps over here. I am hearing that it's, it's almost like coming home to yourself, that often, and I too have a Filipino family, grew up here I'm second generation, and often the dominant culture's understanding of Filipinos is limited to very simplistic notions, whether that's our food, even if food is very political. Billy Bustamante: [00:24:11] Yes. Aisa Villarosa: [00:24:11] There's often sort of a niceness, and the arts and culture world is no exception. So thank you for sharing. And in thinking about the cast of the musical, can you share what makes this cast special and unique? Billy Bustamante: [00:24:29] I am a firm believer that theater artists of any background are some of the most exhilarating people in the world [laughs]. As a theater artist, specifically as a musical theater artist, there is so much skill you must be able to access in order to do your job. It's not just one thing at a time, it is all things at a time. So we are making a show that sings, acts and dances all the time [laughs], and within that there's that triple threat of skill while also incorporating this fourth ingredient of identity and shared history. So each of the actors that we have brought into this cast has really shown up with not just those first three skills in brilliant capacity, but also a hunger and an enthusiasm to be generous about how they bring this fourth ingredient into the process. Again, another thing none of us have been able to do in an artistic space before. For so many of us, it's our first time bringing ourselves to the work in this way. Because none of us have had a chance to do it. So many of us have never played Filipino on stage before, let alone Filipino Americans specifically. I know I've been lucky to have played Filipinos on stage and have been telling Filipino stories, but none of those have been led by Filipinos or written by Filipinos. So there's a level of not just authenticity, but integrity to the work and the story we're telling that allows each of these cast members to be greater like artistic citizens and contributors to the work. Aisa Villarosa: [00:25:58] I love that. There's in Filipino culture, the word kapwa, right? Which is collective identity. And I was reading a quote from you and you said, “My favorite thing about Filipinx culture is creating community. If you've shared a meal with a Filipinx family, you're family.” And it sounds like here you're talking about a meal but this theater experience and all the prep that y'all did, there's a family feeling to that, and can you share some of the behind the scenes love and care and intentionality that went into creating Larry? Billy Bustamante: [00:26:33] Yes. Yes. I, I love that you found that quote. I can't remember when I said it, but I know I say it a lot. [Laughs]. Aisa Villarosa: [00:26:39] I was creeping on the internet. [Laughs]. Billy Bustamante: [00:26:40] I love it. I, and I do firmly believe, like that's one of my favorite things about Filipino culture. Yeah. If you sit at my table, you leave as a family member, right? And I do think that's the environment we wanna create for the audience as well. This piece of art that we are creating is what I hope will be a fully nourishing seven course meal of artistry that again, audience members come into the theater as guests and they leave as family. That is my hope. How we get there is, has been a thrilling experiment, again, as a theater maker for like 20 plus years, the pandemic, this pandemic pause that was forced upon us as artists, really forced me to examine, but I think forced the greater industry to examine the dysfunction in how we do what we do. And now that we have started creating theater again, I've personally been on this, you know, mission to honor the science experiment that we're all on in terms of a, how to be in a room together and then how to create art together and hopefully a healthier more empowering way across the board. So knowing that's been a mission I've been on with any theater project I take on, for this one specifically there is so much more importance laid onto that particular ingredient, right? How do we make a healthier room? How do we make a more restorative healing process for everyone? Recognizing that the story we are telling impacts the actors and their bodies in a way that no other story does, right? There is an additional toll and cost to reckoning with your own history on stage. And it's, it's a privilege to get to do that, but that does mean we need to reexamine what supportive systems and structures we are creating in the room. Again, this is all an experiment [laughs] and it's going well so far, but some steps we have taken or to gather our company. Our company, on the first full day of rehearsal when we got all the actors together. One thing I was excited about our first day of rehearsal was that we took a good amount of time to sit in a circle and create what we called community commitments. Like a set of shared agreements that we all were participatory in creating that gave us all a guideline of how we treat each other in this space. So now it's thrilling, it's freeing to have this social contract in place that we have all agreed to, that not just allows for the pursuit of an ideal space, but also a way to kind of move through conflict as we pursue that space. So to me that feels really helpful. Another thing we just did in rehearsal yesterday, was we brought Allyson in to lead a facilitation of how we bring our personal individual stories to this greater story that we are telling. We are telling a history and we are living history in this moment. So it was amazing to hear Allyson give us a technique for how we share our individual stories as humans to the rest of the company, which is a practice we will start incorporating at the beginning of every rehearsal. And I can only wait to see how much that impacts the art that we make on stage, knowing that everyone will know more and be more invested with each other as humans. Aisa Villarosa: [00:29:32] And you're talking about living history, right? And as you were sharing, I wrote down safety to create. It's rare that we as folks of color as Filipinos can be in these safe liberatory spaces. Taking it a little personal, has your family seen Larry yet? Billy Bustamante: [00:29:50] Well, I mean, no one really has, [laughs] you know, our world premiere in March will be a world premiere. No one will, even if people have seen every workshop, this is a version of the musical in its fullest form that no one will have ever seen before. So in that way, I'm very excited. With that said, my parents have been keeping up with all the filmed workshops and the interviews, and that's all been amazing. Both of my parents are on the east coast. They're in the DC area, which is where I'm from. So they're keeping up with it virtually. But I am so excited for them to fly out here, to catch opening weekend. I'm getting a little emotional talking about it right now, but my parents are incredibly supportive as is the rest of my family. And they do a great job at coming to see and support whatever I do. And this one, having them in the room to watch this one, I think will be a really special experience. Aisa Villarosa: [00:30:43] I, I can feel love and as a huge fan, a mentee of folks like Dr. Allyson and Dawn Mabalon there's a moment where a lot of Filipinos, Filipino organizations are trying to archive the struggle, the triumphs of the past, and it's incredible that through theater y'all are doing that in a way that will be fresh for new generations. And speaking of theater, you are always creating, you wear so many hats. Tell us what is coming down the road for you in addition to Larry, would love to hear more. Billy Bustamante: [00:31:26] Yeah. I'm gonna put this into the ether here. I, my hope is that this world premiere of Larry will be the first of many steps for this musical. So what I hope is that the next few years includes more productions of Larry at a bigger and wider scale. With that said, there are a few other projects that I'm really excited about. I am a theater leader, but also an educator. So I'm on teaching faculty at Circle in the Square Theater School, which is the only theater training ground attached to a Broadway theater. So, in that way I feel really excited about the work I get to do with young artists there. We are developing a new musical called The Rosetta Project, which I hope everyone checks out. It's gonna be amazing. I'll be directing that. From there I have a couple of, you know, other pots on the stove. I'll be directing, choreographing a new off-Broadway show called Straight Forward in spring of 2025, which I'm very excited about. There are a couple of other things that I cannot release at this moment, but if you want to keep up with the [laughs] shenanigans I am up to, please check out billybustamante.com because I'll be sure to be shouting from the rooftops with excitement once I can. Aisa Villarosa: [00:32:36] Beautiful. And we will include links to your website, Billy, as well as links for folks to get tickets for Larry at the Brava Theatre. And folks can check that out on the Apex Express website [kpfa.org]. And Billy, before we go, is there anything else you want to share? Billy Bustamante: [00:32:55] I think there is one thing. I'm usually not a person who really is enthusiastic about promoting my projects [laughs]. I've always kind of felt some sense of ickiness around that. Some sense of like transactionality around that [laughs]. But Larry is so special to me and there's a spirit that we are creating in this piece that I think everyone needs to experience and be a part of. And I also recognize that, you know, where audience members choose to spend their money is a big investment and a big decision and I hope that everyone who is excited by anything I've said today or anything we've talked about today finds a way to grab a ticket and join us at the theater. This time will be fleeting and it's gonna be over before we know it, and I really hope everyone gets to be a part of it because I think it's gonna be really special so get those tickets if you can. Aisa Villarosa: [00:33:49] Adding a plus one to that. And Billy, you earlier mentioned the impact of these covid pandemic years and yeah, that was the longest period of theater closures, right? Since World War II. As someone who used to work in the arts I also recall that often there's sort of an elite nature to the arts and one of my favorite things when I go to the Larry website is there are so many people who gave all sorts of amounts to make this happen, right? There's folks who gave like 50 bucks. It's such a welcoming site, so I too hope that this is only the beginning. Billy Bustamante: [00:34:28] Awesome. Thank you so much and thanks to everyone who supported us so far. I'm so grateful. Aisa Villarosa: [00:34:32] Our final track from Larry The Musical is called “Train,” which is about Filipinos jumping trains throughout the western United States, traveling from town to town in search of work in the 1920s and 1930s. Train was written by Gayle Romasanta and Kevin Camia, music composed by Brian Pangilinan and Sean Kana. They wanted to create a broad picture of how the thousands of Filipinos must have met each other, built friendships, planned labor meetings, and all while traveling. Here is the exclusive preview. SONG Aisa Villarosa: [00:35:03] You're listening to Apex Express on KPFA Radio, and I'm your host, Aisa Villarosa. That was a preview of “Train” from Larry The Musical. You just heard Dr. Allyson Tintiangco-Cubales and Billy Bustamante talk about what makes the world premiere of Larry The Musical so special. Larry debuts at the Brava Theatre in San Francisco March 16th through April 14th, 2024. Seats are limited, so visit www.larrythemusical.com to buy tickets today. Finally, tonight's episode of Apex Express is dedicated to the life and legacy of Reynaldo Timosa Novicio Jr. a father, son, friend, and prolific sound producer, artist and guiding light of the Filipinx American and Bay Area Music and Civil Rights community. Rey passed away on February 2nd, 2024. I'm joined right now by a friend, a colleague, an incredible artist, activist dad, and a martial arts practitioner, Nomi, AKA Power Struggle. Nomi, it's so great to have you on the show today. Nomi (Power Struggle): [00:37:12] Hey Aisa, thank you for having me. Thank you to the KPFA and the Apex Express listeners. What's up Bay Area? Aisa Villarosa: [00:37:19] Nomi, you rep the Bay Area hard. I think a good way to start our conversation is given all the hats you wear, all the ways that you're making change: What does it mean to be Filipinx American in the Bay Area right now? Nomi (Power Struggle): [00:37:34] I think right now it is a really important moment to, there's been so much happening in this particular moment around the liberation of Palestine and the end of the genocide in Gaza, and I think that a lot of folks in our community have been really seeing this moment as a way to express their solidarity and mobilize and take action against what's happening to the Palestinians. And I think that is just reflective of the bigger, historical context that a lot of Filipino, Filipinx, Americans, immigrants, have experienced and live under, right? So I believe like a lot of folks are just seeing those connections between colonization, the colonization of the Philippines from various different occupation nations and armies, to what's happening in Palestine. And they make those connections and they even are not that far removed, maybe like two generations removed from the experiences of their grandparents that went through the Japanese occupation during World War II and lived through some of those horrors and they remember that stuff and the stories that they were told and I think that informs a large amount of our community to, to mobilize and take action. I'm not saying that, we don't have more conservative folks in our broad community across the Bay Area, but I believe for a lot of young folks, a lot of folks that have taken time to be part of other movements, whether it be the movement for Black Lives, or Indigenous movements, or even for liberation movements in the Philippines, they kind of understand all these connections, and are building bridges and building solidarity with folks. Aisa Villarosa: [00:39:16] Yeah, it's the young and it's the young at heart, right? I think folks who can be ever curious, and, you know, we have made some headway in ethnic studies where folks are connecting the dots, right, between those shared histories, those living histories of struggle. Tonight's episode started off with a tour of Larry Itliong, the new musical coming out. And it's quite clear that to be Filipino in so many ways means to resist. And as it relates to Larry The Musical, resistance through music is such a powerful form of political organizing. Nomi, you're here today because this episode is also a tribute to our friend who passed away, the wonderful Mister Rey, who you have collaborated with, you have made music with. Can you start by just sharing a little bit about who Rey was to you and maybe talk a little bit about what made your musical collaboration so special? Nomi (Power Struggle): [00:40:27] I'm really thankful for this opportunity to just share the story of Mister REY with the entire Bay Area with the country. Mister REY, Reynaldo Novicio, and I worked on one of our first records together. It was called Remittances. And I met Rey back in around 2009. I can't remember specifically where we met. It just happens in life, especially in the art community, you start talking with people and collaborating, and he would invite me to a spot in Daly City, where he was living at the time with his family, and every Saturday morning we would session. I would go over there with Dennis and Kane, Drew, Vi, and we would just, he would just play beats that he had made, and we would write. And after a few months of that, we slowly started to create this body of work that was starting to be more cohesive that would be like the material for the album, Remittances. A couple months after that, we decided to move in, him and his partner, and their family were moving into a spot in the Excelsior District and they had an extra room. I think I was going through a displacement. I think I was going through an eviction in the mission. And so it all kind of worked out and I ended up moving in with them. And that really was just a great opportunity to live together and continue this process of working on this album, which is to me my favorite piece of work. It's so meaningful. The title Remittances. You know, is a remittance obviously, when you send money to your family back home or abroad, was just such a symbol of the immigrant experience, especially for our community and the Filipino community. And so the title was like an offering of culture and love, for our community through music. And that's why we chose that title Remittances and that offering and love transcends beyond just this neighborhood, but also across the seas to our homelands and throughout our diaspora. That project was just really important. For all the artists out there, when you go through a creative process you're partnering with someone and you live with them it's just like a deeper level of connection and struggle [laughs] as well, right? Because, you live together so and Rey has two twin daughters he has one more now. But at the time, and so, you know, you're just really immersed with the family. And for me, it was also such a beautiful experience because Mister REY was a bridge builder. He really was a tulay. He immigrated from the Philippines at a pretty young age, I think late elementary school or middle school, still very much had the identity of the migrant community you know, Tagalog was his first language a lot of his folks, his homies were a lot of recent immigrant hip hop heads and folks from that community. But he was also able to just because there, there is this kind of conception that there's a divide often between immigrant communities and first or second generation Filipino Americans. And it is true to an extent. I've seen it manifest in high schools and on the streets and things like that. But Rey was really able to bridge these differences and connect folks. And so for me, especially someone that grew up in the Midwest, that didn't really grow up around Filipinos, getting to experience living with Mister Rey and his family and living in the Excelsior District, which has the highest concentration of Filipinos in San Francisco, was just such an immersive and beautiful thing and a reconnection to our culture, on so many levels, and I'm already in my, late 20s at the time, and so to go through this experience was really powerful and eye opening. I think it also related to just like what we're fighting for in San Francisco. You know what I mean in the sense of upholding this identity of being a city of multiple languages, a city of multiple classes and incomes. And, and this is what, like, that experience really upheld. At the time I was also doing a lot of work with the Filipino Community Center as a worker's advocate. I was doing some organizing with Migrante, which is a migrant workers organization. And, for all of these kind of different things, from like the organizing work, to my day job, to living with Mister Rey, and being with the Filipino community in the Excelsior, coming together was like one of my favorite periods of my life where I was really understanding more about our culture, our history, our positionality in society and on a local level, on a national level, and on a global level to really understand how politics and history have brought us to America and to really experience it, right? All of these things were super impactful, and I feel like they helped inform and mold what that album, Remittances, was about. And Mister REY was such a huge part of that, right? He was, you know, he wasn't like this crazy political scientist but through his lived experience and his own way of analyzing his life and things he had been through was very sharp and also informing the kind of political influences of this record. So yeah, it was just such a really important time. I don't think I can ever come close to doing something like that again. I just thank him for that year or two that we lived together, embracing me and letting me come into their family life and just being in community with them. His work in terms of, if you visit his catalog of albums, which I highly recommend folks to check out his bandcamp. And it's just Mister REY, M-I-S-T-E-R R-E-Y, check that out and you can hear all of his work. So much like high level art, beat production wise is really sophisticated. He still embraces most of all of his writing and his rapping is in Tagalog. He sprinkles a lot of English in it too but it's just a really beautiful body of work where people in our diaspora can really identify with and just get a lot of nourishment from. So I really suggest folks go check out his catalog. It's really accessible on Bandcamp. Aisa Villarosa: [00:46:40] Nomi, thank you for opening your heart and sharing about what sounded like a really intimate process, right? To make music with someone. And I know the last time I was at Rey's place, he loves his kitchen so I feel like y'all also broke bread, right? Not just making the beats. I was also struck by Rey was such a multi-dimensional advocate, right? Whether it was mental health, whether it was youth issues, right? All of the sort of organizing he did to challenge juvenile curfew laws, for example. You've today brought a track that you worked on with Rey. It's titled “ArtOfficial Freedom” and I'd love for you to cue up the track and just share a little bit about the music. Nomi (Power Struggle): [00:47:31] This was a signature single on the album. It was produced by Mister REY and it also features Mister REY singing the chorus, where he just does a pretty basic refrain where he says, “round and round.” This was like, I feel like for me at least, or many hip hop artists, I think they have that one single on every album that represents the whole album, and I think this is the one. Like I mentioned earlier, around like all the different things that I was doing at the time in terms of community organizing and workers organizing and all the stuff that he was doing, at that time, he was really focusing on mentoring a lot of Tagalog hip hop rappers in the community. And so all these young cats would be at the apartment all the time [laughs], recording in the kitchen. And it was really a lesson for me in Tagalog where I had to like try to learn as much as possible. For all these things to come together, I think are reflected in the song. This song, “ArtOfficial Freedom” is just a great representation of the album. And the title itself is just like a play on words. It spelled art official freedom, to mean that like through art, we can try to aim towards some sense of freedom, some, you know, towards the goal of freedom using art, but then a play of words of artificial freedom that what we are currently existing in and under is an artificial form of freedom. Through this, capitalistic, imperialistic, racist society [laughs]. So that's kind of the play on words, artificial freedom. That was a long time ago. That was like 10 years, no, 14 years ago that we dropped that album. It's great to, I'm glad you're bringing it back on the airwaves. And I just want to give a shout out to also Fatgums, who was the number three part of this record. Lives in LA and is also the CEO of Beatrock Music and Beatrock Art Collective but he was just also a big part of this record. So shout out to Fatgums. Aisa Villarosa: [00:49:25] Here is ArtOfficial Freedom from Mister REY and Power Struggle SONG Aisa Villarosa: [00:53:29] Nomi before we go, is there anything else you'd like to share with the listeners tonight? Nomi (Power Struggle): [00:53:34] When our people leave us in the physical world, there's so many ways that we can continue for them to live on and their legacy to live on, especially through art, and especially through the technologies that exist now. Like I said before, please, check out Mister REY's catalog on Bandcamp, it's just Mister REY, M-I-S-T-E-R R-E-Y and look up his music. He also has a project with MrRey and Aristyles called America is in the Dark. That's a beautiful EP. Please check those things out and promote and propagate them, share them with your friends, download them. It's great music. If I could also please plug, to support his family, Mister Rey leaves behind two twin girls and a young son of the age of nine and their mother. And so if you could please donate to the GoFundMe, if you just look up Reynaldo Novicio, his name will pop up, and any donation is greatly appreciated. Lastly, on March 15th Fifth Elements and Hummingbird Farm is going to be organizing a life celebration, for Mister REY, his creative life and his legacy. It's going to be at Hummingbird Farm, which is in the Excelsior District right by Crocker Park, behind the soccer fields. Check that out on March 15th, 4 to 8 pm. The program is still being crafted, but I guarantee it's going to be a really special time. I think there's going to be some films, there's going to be performances, music, and the space in general, Hummingbird Farm, is a really dope community space that is really people power driven. So please check those things out. And again, just really appreciate this time to share about Mister REY and our work together. Aisa Villarosa: [00:55:14] Thank you, Nomi. And Rey would talk about how the Guitar Center in SoMa was a hub for him early on, and he would just meet people, and you have called Rey a bridge builder. So thank you for being with us here tonight and paying it forward with love. Please check out our website kpfa.org to find out more about Larry The Musical, Mister REY, Power Struggle, and the guests we spoke to. We thank you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Aisa Villarosa, Anuj Vaidya, Ayame Keane-Lee, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Aisa Villarosa and edited by Ayame Keane-Lee. Have a great night. Mga kababayan. Makibaka, huwag matakot. The post APEX Express – 3.14.24 – Living Legacies Larry the Musical appeared first on KPFA.

During the past year, Bay Area artists including Chicana songstress La Doña, homegrown rapper and producer Afterthought and Oakland indie singer-songwriter Madeline Kenney dropped new albums proving that our region remains a hotbed of musical talent. The genres and styles of music coming out of the Bay also reflect the diversity of thoughts and backgrounds of our region's people. For this hour of Forum, we're teaming up with KQED music writers to showcase their favorite albums of 2023 from Bay Area artists you need to have on your playlist. And, we'll bring you a special live performance from one of the featured artists. Guests: Nastia Voynovskaya, associate editor, KQED Arts Pendarvis "Pen" Harshaw, columnist, KQED Arts; host, KQED's "Rightnowish" podcast Alan Chazaro, food reporter, KQED; poet; educator Afterthought, San Francisco rapper and producer, the 2023 album "Communal Healing"

Welcome to the Nothing Shocking Podcast 2.0 reboot episode 200 - Part Two with our guest Arion Salazar (Formerly of Third Eye Blind).  In this episode we look back at Third Eye Blind's 1997 self-titled album!   For more information visit: Arion's Instagram and Facebook   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org 

Randall Park is even more lovely in person than he is on screen! Ange sits down with him at the Fairmont Hotel in San Francisco to discuss his feature length directorial debut, Shortcomings, based on the graphic novel by Adrian Tomine. The film follows three young  Asian Americans living in the Bay Area as they navigate life, relationships, and (hopefully) their own personal growth.Randall shares his reaction to reading the novel in 2007, AAPI representation through the years, and the great debate that every Asian American has had about the film Crazy Rich Asians. He shares his love for some of the Bay Area musicians that are part of the film's score, and the differences between filming in NY versus Berkeley. Then we go back to his time at UCLA, majoring in Asian American Studies, and founding a comedy troop with friends who he eventually joined forces with to launch the production company, Imminent Collision. Finally, he gets into Hollywood gatekeepers, his work philosophy, and what film he loves that would piss off Ben, the cinephile main character in Shortcomings.Shortcomings opens in theaters on August 4th, get tickets here--on-site audio producer: Josh BrumleyThanks for listening and for your support! We couldn't have reached 10 years, 700 episodes or Best of The Bay Best Podcast without your help! --Be well, stay safe, Black Lives Matter, AAPI Lives Matter, and abortion is normal.--SUPPORT US HERE!Subscribe to our channel on YouTube for behind the scenes footage!Rate and review us wherever you listen to podcasts!Visit our website! www.bitchtalkpodcast.comFollow us on Instagram, Facebook, and Twitter.Listen every Tuesday at 9 - 10 am on BFF.FM

Episode # 204 Rockers Ryan Jones & Eric Fraser of Corvus Lore discuss their 3rd single "Blind & Broken" from their soon to be officially released album titled "Lucida" and so much more. Since Corvus Lore's inception in 2015, their goal has been to write music that is memorable, inspiring, and possesses the perfect blend of the various styles of rock music that they grew up on — keeping original rock music alive today. And people in the music industry are taking note. SoundwavesTV has referred to Corvus Lore as the Bay Area's buzz-worthy band in 2023. Internet show host Chris Akin recently published his interview with the band stating, "Why Corvus Lore is the NEXT Velvet Revolver!" Inspiring and eye-catching videos such as "Boxing Ballerina" have won "Best Music Video" category at the 2022 Poppy Jasper International Film Festival. And their momentum keeps building — having shared the stage with notable rock legends like Tesla, Richie Kotzen, and Dizzy Reed from Guns n Roses, and Eric Martin. They have also made TV appearances on the KBFX morning show. Their sophomore album, 'Lucida,' scheduled to be release in July 2023 on Valley of Fire Records, contains nine new songs that will take you on a ride and make you want to set the needle back again and again. Keep an eye out for their upcoming shows in 2023. Corvus Lore: Ryan Jones - Vocals, Guitar Eric Fraser - Lead Guitar Mike Oneto - Bass, Vocals Joe Cloutier - Drums Website: https://corvuslore.com/ Facebook: www.facebook.com/corvuslore Instagram: www.instagram.com/corvuslore Corvus Lore - New Album "Lucida" official release date on Saturday, July 8, 2023 - Valley of Fire Records. Release Party!! 3rd Single / Video "Blind & Broken" Watch the complete video and subscribe • Corvus Lore "Blin... Subscribe to Pat's Soundbytes Unplugged Podcast, Pat's Soundbytes IGTV and Pat's Soundbytes Unplugged - Podcast Radio Show on YouTube for all the interviews and incredible content. Instagram: Pat's Soundbytes Twitter: @PatsSoundbytes Facebook: Patrick Calamari or Pat's Soundbytes Unplugged! Patreon Page: Pat's Soundbytes

We're back at the interview game with new Bay Area Besties Goldview. We talk about their latest EP "Chapters of an Open Heart," their upcoming show with Every Avenue, collaborating with Ace Enders of The Early November and more.______EMO SOCIAL MERCH SALEIt's prime layering season, club! So make sure you get some discounted Sun's Out, Stay Inside & Emo Social Nu-Metal tanks in our store!Thanks to our designer Joey Resko for our designs.Join the club!Twitch: https://emosocialclub.tvDiscord: https://emosocial.club/discordTikTok: https://www.tiktok.com/@xemosocialclubxTwitter: https://emosocial.club/twitterInstagram: https://emosocial.club/instagramYoutube: https://emosocial.club/youtubeFacebook: https://emosocial.club/facebook  Follow us!Brian: @spookypants1Lizzie: @bordenbathory

New Underground HipHop Street 2022  Big Sad 1900 & Uce Lee/C-Dubb/CML & Prince Dreda/Coco Farms/Dr Dre/E-40/GloRilla/Ijs/Joe Moses/June/King Boonk/Reck Less/Snoop Dogg & Dave East/Spice 1/The Gatlin/Tre Kavyo/West Natives/Yvng King

Episode # 184 -Lead Vocalist Ryan Jones of Corvus Lore talks latest single/video 'Romantic Traffic,' and much more!

Different Fur has been a landmark of the music scene in the Bay Area and at the cutting edge of studio technology since it was founded in 1968 by synth wiz Patrick Gleeson, who went on to play on albums by Herbie Hancock, and in soundtrack albums for the films "Apocalypse Now" and "The Plague Dogs." Nestled between taquerias and cocktail bars, it has hosted an array of legendary musicians, up-and-coming artists, and music lovers who have attended community-based events that are now the stuff of legend in the Mission. After navigating the shakeup of the COVID-19 pandemic, Different Fur looks to the future with its new co-managers, Lien Do and Grace Coleman. Both talk to us about their musical beginnings, their relationship with artists, and their goals for the future of this recording studio. More on Different FurWebsite: https://differentfurstudios.com/Instagram: https://www.instagram.com/differentfur/Twitter: https://twitter.com/differentfurFacebook: https://www.facebook.com/differentfur/Show Tracklisting:Come Back Jonee (Devo)America Is Waiting (David Byrne & Brian Eno)Host and Producer: Diego MartinezExecutive Producer: Nicholas "NickFresh" PuzoAudio Engineer: Adam Fogel Special Thanks to Marcel Caldera IIIFollow us on social media: @choonspodSubscribe to our PATREON: patreon.com/choonspod

Today we're taking you back to our show from April 21, 2022- when we had the pleasure of hanging out with Francisco Martin! In between the tunes, we chatted with the singer about everything from his favorite concerts and start with playing the drums, to all about his recent EP! During this episode, we were sipping on smooth and bold JaM Cab. So grab a glass, sip back and get ready to JaM out and wind down. Cause this is JaMHappyHour, poured by JaM Cellars.Find Francisco Martin online over at www.franciscomartin.org.Stay connected on Facebook, Instagram, and YouTube!And find more music on Spotify, Apple Music, and many other streaming platforms.Find your favorite JaM Cellars wines by visiting us online, at JaMCellars.comAnd on Facebook, Instagram, and YouTube.

Last year, KQED's Arts & Culture team launched the music series "Pass the Aux" to spotlight new music by Bay Area artists. Highlights from the series this year have included the elegant vocals of Kadhja Bonet on her song "Dear Gina," the dembow and salsa rhythms of La Dona's "Pena con Pan" and the gentle meditations on love and grief in The Seshen's "This Time Around," among others. KQED Arts columnist and podcast host Pendarvis Harshaw joins us to showcase those tracks and more of the team's favorite early 2022 releases.

Game composer Tracy W. Bush chats with me as we hear digitally unavailable new wave classics from Eurythmics, Psychedelic Furs, Devo, Nina Hagen, and more. Check out my online music course, "The Completely Abridged History of Bay Area Music," from July 27 through August 31: https://bit.ly/bam-rcw Follow me on Instagram: instagram.com/mrfr3nch Follow me on Twitter: twitter.com/MrFr3nch My site: mmfrench.com Theme song by Spiky Blimp: spikyblimp.com Follow Tracy W. Bush: @TracyWBush SJ Harrison underwrites this episode. Learn more at sjharrisoncoach.com Originally broadcast on KACR-LP—Alameda.

Writer, KALX DJ, and storytelling jukebox Stefanie Kalem chats with me about contemporarily problematic songs from The Rolling Stones, Tone-Lōc, Ella Fitzgerald, Dire Straits, and more. Check out my online music course, "The Completely Abridged History of Bay Area Music," from July 27 through August 31: https://bit.ly/bam-rcw Follow me on Instagram: instagram.com/mrfr3nch Follow me on Twitter: twitter.com/MrFr3nch My site: mmfrench.com Theme song by Spiky Blimp: spikyblimp.com Learn more about Stefanie Kalem: stefaniekalem.com Outdoor Afro underwrites this episode. Learn more at outdoorafro.com Originally broadcast on KACR-LP—Alameda.

Singer-songwriter and music producer Will Hammond Jr chats with me about P-Funk's surprise appearances in classics from Talking Heads, D'Angelo, The Black Crowes, Too $hort, and more. Check out my online music course, "The Completely Abridged History of Bay Area Music," from July 27 through August 31: https://bit.ly/bam-rcw Follow me on Instagram: instagram.com/mrfr3nch Follow me on Twitter: twitter.com/MrFr3nch My site: mmfrench.com Theme song by Spiky Blimp: spikyblimp.com Learn more about Will Hammond Jr: willhammondjr.bandcamp.com Econo Jam Records underwrites this episode. Learn more at econojamrecords.com Originally broadcast on KACR-LP—Alameda.

Music nerd and fat positive blogger Briana Hernandez chats with me about George Clinton's and The Stooges' dog appreciation, Eminem's posse depreciation, The White Stripes' comedy fascination, and more. Check out my online music course, "The Completely Abridged History of Bay Area Music," starting July 27: https://bit.ly/bam-rcw Follow me on Instagram: instagram.com/mrfr3nch Follow me on Twitter: twitter.com/MrFr3nch My site: mmfrench.com Theme song by Spiky Blimp: spikyblimp.com Jim Jarmusch's Stooges documentary: justwatch.com/us/movie/gimme-danger Learn more about Briana Hernandez: hotfatmess.tumblr.com Hero Marketing underwrites this episode. Learn more at heromarketing.com Originally broadcast on KACR-LP—Alameda.