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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n an overcast August afternoon, \u003ca href=\"https://www.youthartexchange.org/xspace\" target=\"_blank\" rel=\"noopener\">[x]space\u003c/a> is bustling with dozens of teenagers, parents and neighbors eager to see summertime work by Youth Art Exchange students. A group of girls hawk screen-printed, hand-dyed patches and tote bags with slogans like “Melt I.C.E.!” Succulents in handmade planters hang from wooden “living walls” built by students themselves. 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In 2018, a grant from San Francisco’s Office of Economic and Workforce Development presented \u003ca href=\"https://www.youthartexchange.org\" target=\"_blank\" rel=\"noopener\">Youth Art Exchange\u003c/a> an opportunity to find a brick-and-mortar location. Until that point, the small nonprofit had run its free after-school and summer arts programs out of various classrooms across the city. [pullquote align='right' citation='Jorge Courtade']“This is a safe space for people growing up in a city that’s changing by the day.”[/pullquote]\u003c/p>\n\u003cp>Youth Art Exchange organizers knew full well that they didn’t fit the profile of a typical commercial tenant. Property owners seemed confused when executive director Reed Davaz McGowan and deputy director Raffaella Falchi Macias told them that they weren’t selling anything, and would pay rent through a combination of several grants. Meanwhile, most landlords wanted a tenant willing to commit to a 10-year lease, while they were only looking to sign for one to three years.\u003c/p>\n\u003cp>Undeterred, Davaz McGowan and Falchi Macias spent six months hitting the streets and calling numbers on any “For Rent” sign they could find. Eventually, the business development group Excelsior Action Group introduced them to the three brothers who owned the Chuck’s Market building. To Davaz McGowan and Falchi Macias’ surprise, they decided to take a chance on Youth Art Exchange.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The only catch? Their storefront on the corner of Mission Street and Geneva Avenue needed a ton of work. The first thing Falchi Macias and Davaz McGowan noticed was the smell.\u003c/p>\n\u003cp>“It was rotting flesh with a little side of fish,” recalls Davaz McGowan, wrinkling her nose. “Imagine that mixed with 10 years of mildew and funk.”\u003c/p>\n\u003cfigure id=\"attachment_13865907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Printmaking students show off apparel with activist slogans at Youth Art Exchange’s [x]space. \u003ccite>(Nastia Voynovskaya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the help of 50 volunteers, the Youth Art Exchange team emptied ancient dish buckets, threw away rusty lobster cages, cleared out old deli fridges and chiseled tiles off the walls. The nonprofit ArtSpan, which came on as a co-tenant and keeps an artist studio in the space, activated its network of artists to help. Three months later, in June 2018, Youth Art Exchange’s first classes at the new [x]space were in session.\u003c/p>\n\u003cp>With a faculty of practicing artists, including musicians, designers and photographers, [x]space offers a wide range of \u003ca href=\"https://www.youthartexchange.org/core-programs\" target=\"_blank\" rel=\"noopener\">curricula\u003c/a> to diverse cohorts of high school students, and all after-school classes and summer programs are free. (They also regularly offer free events and workshops to the public, like the upcoming \u003ca href=\"https://www.youthartexchange.org/events/artmart2019\" target=\"_blank\" rel=\"noopener\">fundraiser and art market\u003c/a> on Oct. 10.) This past summer’s intensive programs focused on printmaking, film and music production. Sessions kicking off this school year include the above-mentioned disciplines, plus architecture, photography, industrial and product design, fashion design and dance.\u003c/p>\n\u003cp>“We want to make the arts really accessible across economic boundaries,” says Falchi Macias, explaining that Youth Art Exchange programming is designed to mirror intro-level college art studio classes.\u003c/p>\n\u003cfigure id=\"attachment_13866018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg\" alt=\"Students dance at Youth Art Exchange's Youth Digital Music Festival, which took place at X Space in May.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students dance to each other’s music at Youth Art Exchange’s Youth Digital Music Festival, which took place at [x]space in May. \u003ccite>(Chantelle Schultz/Youth Art Exchange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some youth come in and they have very limited skills, and we’re bringing them to a high-beginning, lower-intermediate level as fast as we can,” says music production instructor Alfie Macias, who is also a percussionist, DJ and the musical director of award-winning Brazilian dance ensemble \u003ca href=\"https://www.facebook.com/sambaxe/\" target=\"_blank\" rel=\"noopener\">Sambaxé\u003c/a>. “And others are coming in with vocal training, instrument training, theory, so with them we’re going straight into composition and showing them what’s possible in a recording environment.”\u003c/p>\n\u003cp>He adds that one of his main goals is to expose students to audio careers in the Bay Area, where the industry is geared towards audio-for-video and live sound engineering. Indeed, some Youth Art Exchange students are well on their way to professional music careers. At Youth Art Exchange’s Youth Digital Music Festival this past May (where, full disclosure, I was a guest speaker), a 16-year-old rapper named Fusion casually announced that he was stopping in to “do this little show” for his teachers before heading off for tour in Central America.\u003c/p>\n\u003cfigure id=\"attachment_13865908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg\" alt=\"Music instructor Alfie Macias talks to a parent at X Space. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music instructor Alfie Macias talks to a parent at [x]space. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he students who use [x]space come from the Excelsior, Mission and Bayview neighborhoods, among others, and represent a wide variety of public schools. [x]space, located on a busy block with Chinese restaurants, liquor stores and a pupusería, sits in the heart of a diverse neighborhood that’s predominantly Asian and Latinx. As San Francisco becomes increasingly more affluent, white and childless, [x]space serves as a crucial gathering space for teens of color whose families bear the brunt of current economic pressures. [aside postid='arts_13864750']\u003c/p>\n\u003cp>Indeed, San Francisco Supervisor Ahsha Safaí, whose office supported [x]space with funding and logistics, says that his constituency in the Excelsior has the highest concentration of children under 18 in San Francisco, along with Bayview-Hunters Point. “There are immigrant families and families of color living in my district, so having a place that’s near their home that readily promotes the arts is extremely important, and opens up opportunities and experiences for our families and our youth,” he says.\u003c/p>\n\u003cp>“I wish I could have had this kind of place when I was younger and in high school,” says Jorge Courtade, Youth Art Exchange’s program associate, who is also known as DJ \u003ca href=\"https://soundcloud.com/juannydepp\" target=\"_blank\" rel=\"noopener\">Juanny Depp\u003c/a> from the music collective Amor Digital. He was raised in Millbrae and some of his family, immigrants from Honduras, settled in the Excelsior. “Being a teenager is a strange time in anyone’s life, especially when factors like institutional poverty and racism exist, so this is a safe space for people growing up in a city that’s changing by the day.”\u003c/p>\n\u003cfigure id=\"attachment_13865909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg\" alt=\"Youth Art Exchange deputy director Raffaella Falchi Macias and executive director Reed Davaz McGowan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Art Exchange deputy director Raffaella Falchi Macias and Reed Davaz McGowan. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Youth Art Exchange programming is designed to give students a voice at a time when change in San Francisco is largely dictated by governmental and corporate forces, and it’s easy for individuals to feel powerless. In recent years, architecture students designed parklets near City Hall. Printmaking students screen-printed public art for utility boxes on Ocean Avenue. And music students performed songs about gentrification in English, Spanish and Haitian Creole in a collaboration with SFJAZZ called Beats on the Corner. [aside postid='arts_13865238']\u003c/p>\n\u003cp>“Since the Trump presidency specifically, we were feeling really scared and we didn’t know what we could really do to make a difference,” says Fiona Gray, a Youth Art Exchange alumni who graduated from Mission High School this year. “A lot of it is just getting out there and getting your message heard.”\u003c/p>\n\u003cp>Davaz McGowan and Falchi Macias agree. “[Youth] often don’t have agency, or are often thought of as ‘they’re too young and don’t know anything yet, so we shouldn’t listen to what they have to say,'” says Falchi Macias.\u003c/p>\n\u003cp>Although most of the Youth Art Exchange kids can’t vote yet, the directors explain, the program’s emphasis on civic engagement through art—getting their hands dirty setting up [x]space included—is one way they’re making an impact on their community.\u003c/p>\n\u003cp>As Davaz McGowan says, “They actually get to make the San Francisco they want to have.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction:\u003c/em> \u003c/strong>\u003cem>This story originally referred to the organization that connected Youth Art Exchange to the owners of Chuck’s Market as Excelsior Collaborative. The group was Excelsior Action Group.\u003c/em>\u003c/p>\n\n",
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"title": "Sealed for 10 Years, an Excelsior Butcher Shop Becomes a Vibrant Teen Art Space | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n an overcast August afternoon, \u003ca href=\"https://www.youthartexchange.org/xspace\" target=\"_blank\" rel=\"noopener\">[x]space\u003c/a> is bustling with dozens of teenagers, parents and neighbors eager to see summertime work by Youth Art Exchange students. A group of girls hawk screen-printed, hand-dyed patches and tote bags with slogans like “Melt I.C.E.!” Succulents in handmade planters hang from wooden “living walls” built by students themselves. At one point, kids beeline to the music studio in the back, where videos they recorded and edited screen in surround sound and high definition.\u003c/p>\n\u003cp>The neon pink meat hooks hanging above the music studio are the only evidence that just a year ago, this vibrant Excelsior art space was a derelict butcher shop that had been abruptly sealed shut and left as-is for 10 years.\u003c/p>\n\u003cfigure id=\"attachment_13865910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg\" alt=\"Students, parents and neighbors gather at Youth Art Exchange's X Space for a teen art show.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3391.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students, parents and neighbors gather at Youth Art Exchange’s [x]space for a teen art show. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With sky-high real estate prices in San Francisco, the story of how the teen-focused art space came to be is an unlikely one. In 2018, a grant from San Francisco’s Office of Economic and Workforce Development presented \u003ca href=\"https://www.youthartexchange.org\" target=\"_blank\" rel=\"noopener\">Youth Art Exchange\u003c/a> an opportunity to find a brick-and-mortar location. Until that point, the small nonprofit had run its free after-school and summer arts programs out of various classrooms across the city. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Youth Art Exchange organizers knew full well that they didn’t fit the profile of a typical commercial tenant. Property owners seemed confused when executive director Reed Davaz McGowan and deputy director Raffaella Falchi Macias told them that they weren’t selling anything, and would pay rent through a combination of several grants. Meanwhile, most landlords wanted a tenant willing to commit to a 10-year lease, while they were only looking to sign for one to three years.\u003c/p>\n\u003cp>Undeterred, Davaz McGowan and Falchi Macias spent six months hitting the streets and calling numbers on any “For Rent” sign they could find. Eventually, the business development group Excelsior Action Group introduced them to the three brothers who owned the Chuck’s Market building. To Davaz McGowan and Falchi Macias’ surprise, they decided to take a chance on Youth Art Exchange.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only catch? Their storefront on the corner of Mission Street and Geneva Avenue needed a ton of work. The first thing Falchi Macias and Davaz McGowan noticed was the smell.\u003c/p>\n\u003cp>“It was rotting flesh with a little side of fish,” recalls Davaz McGowan, wrinkling her nose. “Imagine that mixed with 10 years of mildew and funk.”\u003c/p>\n\u003cfigure id=\"attachment_13865907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865907\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Printmaking students show off apparel with activist slogans at Youth Art Exchange’s [x]space. \u003ccite>(Nastia Voynovskaya )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith the help of 50 volunteers, the Youth Art Exchange team emptied ancient dish buckets, threw away rusty lobster cages, cleared out old deli fridges and chiseled tiles off the walls. The nonprofit ArtSpan, which came on as a co-tenant and keeps an artist studio in the space, activated its network of artists to help. Three months later, in June 2018, Youth Art Exchange’s first classes at the new [x]space were in session.\u003c/p>\n\u003cp>With a faculty of practicing artists, including musicians, designers and photographers, [x]space offers a wide range of \u003ca href=\"https://www.youthartexchange.org/core-programs\" target=\"_blank\" rel=\"noopener\">curricula\u003c/a> to diverse cohorts of high school students, and all after-school classes and summer programs are free. (They also regularly offer free events and workshops to the public, like the upcoming \u003ca href=\"https://www.youthartexchange.org/events/artmart2019\" target=\"_blank\" rel=\"noopener\">fundraiser and art market\u003c/a> on Oct. 10.) This past summer’s intensive programs focused on printmaking, film and music production. Sessions kicking off this school year include the above-mentioned disciplines, plus architecture, photography, industrial and product design, fashion design and dance.\u003c/p>\n\u003cp>“We want to make the arts really accessible across economic boundaries,” says Falchi Macias, explaining that Youth Art Exchange programming is designed to mirror intro-level college art studio classes.\u003c/p>\n\u003cfigure id=\"attachment_13866018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866018\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg\" alt=\"Students dance at Youth Art Exchange's Youth Digital Music Festival, which took place at X Space in May.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_6244.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students dance to each other’s music at Youth Art Exchange’s Youth Digital Music Festival, which took place at [x]space in May. \u003ccite>(Chantelle Schultz/Youth Art Exchange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some youth come in and they have very limited skills, and we’re bringing them to a high-beginning, lower-intermediate level as fast as we can,” says music production instructor Alfie Macias, who is also a percussionist, DJ and the musical director of award-winning Brazilian dance ensemble \u003ca href=\"https://www.facebook.com/sambaxe/\" target=\"_blank\" rel=\"noopener\">Sambaxé\u003c/a>. “And others are coming in with vocal training, instrument training, theory, so with them we’re going straight into composition and showing them what’s possible in a recording environment.”\u003c/p>\n\u003cp>He adds that one of his main goals is to expose students to audio careers in the Bay Area, where the industry is geared towards audio-for-video and live sound engineering. Indeed, some Youth Art Exchange students are well on their way to professional music careers. At Youth Art Exchange’s Youth Digital Music Festival this past May (where, full disclosure, I was a guest speaker), a 16-year-old rapper named Fusion casually announced that he was stopping in to “do this little show” for his teachers before heading off for tour in Central America.\u003c/p>\n\u003cfigure id=\"attachment_13865908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg\" alt=\"Music instructor Alfie Macias talks to a parent at X Space. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/yax1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music instructor Alfie Macias talks to a parent at [x]space. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he students who use [x]space come from the Excelsior, Mission and Bayview neighborhoods, among others, and represent a wide variety of public schools. [x]space, located on a busy block with Chinese restaurants, liquor stores and a pupusería, sits in the heart of a diverse neighborhood that’s predominantly Asian and Latinx. As San Francisco becomes increasingly more affluent, white and childless, [x]space serves as a crucial gathering space for teens of color whose families bear the brunt of current economic pressures. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, San Francisco Supervisor Ahsha Safaí, whose office supported [x]space with funding and logistics, says that his constituency in the Excelsior has the highest concentration of children under 18 in San Francisco, along with Bayview-Hunters Point. “There are immigrant families and families of color living in my district, so having a place that’s near their home that readily promotes the arts is extremely important, and opens up opportunities and experiences for our families and our youth,” he says.\u003c/p>\n\u003cp>“I wish I could have had this kind of place when I was younger and in high school,” says Jorge Courtade, Youth Art Exchange’s program associate, who is also known as DJ \u003ca href=\"https://soundcloud.com/juannydepp\" target=\"_blank\" rel=\"noopener\">Juanny Depp\u003c/a> from the music collective Amor Digital. He was raised in Millbrae and some of his family, immigrants from Honduras, settled in the Excelsior. “Being a teenager is a strange time in anyone’s life, especially when factors like institutional poverty and racism exist, so this is a safe space for people growing up in a city that’s changing by the day.”\u003c/p>\n\u003cfigure id=\"attachment_13865909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg\" alt=\"Youth Art Exchange deputy director Raffaella Falchi Macias and executive director Reed Davaz McGowan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_3393.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Art Exchange deputy director Raffaella Falchi Macias and Reed Davaz McGowan. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of Youth Art Exchange programming is designed to give students a voice at a time when change in San Francisco is largely dictated by governmental and corporate forces, and it’s easy for individuals to feel powerless. In recent years, architecture students designed parklets near City Hall. Printmaking students screen-printed public art for utility boxes on Ocean Avenue. And music students performed songs about gentrification in English, Spanish and Haitian Creole in a collaboration with SFJAZZ called Beats on the Corner. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Since the Trump presidency specifically, we were feeling really scared and we didn’t know what we could really do to make a difference,” says Fiona Gray, a Youth Art Exchange alumni who graduated from Mission High School this year. “A lot of it is just getting out there and getting your message heard.”\u003c/p>\n\u003cp>Davaz McGowan and Falchi Macias agree. “[Youth] often don’t have agency, or are often thought of as ‘they’re too young and don’t know anything yet, so we shouldn’t listen to what they have to say,'” says Falchi Macias.\u003c/p>\n\u003cp>Although most of the Youth Art Exchange kids can’t vote yet, the directors explain, the program’s emphasis on civic engagement through art—getting their hands dirty setting up [x]space included—is one way they’re making an impact on their community.\u003c/p>\n\u003cp>As Davaz McGowan says, “They actually get to make the San Francisco they want to have.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Correction:\u003c/em> \u003c/strong>\u003cem>This story originally referred to the organization that connected Youth Art Exchange to the owners of Chuck’s Market as Excelsior Collaborative. The group was Excelsior Action Group.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>[aside postID='arts_13864717,arts_13865435,news_11771940' label='Related Coverage']\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lil Pete's Melancholy Rap Gives Voice to a Lesser-Known Side of San Francisco",
"headTitle": "Lil Pete’s Melancholy Rap Gives Voice to a Lesser-Known Side of San Francisco | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in San Francisco’s historic Fillmore district, rapper LaPrell Gilton—better known as Lil Pete— joins a lineage of notable artists who call the neighborhood home: Rappin’ 4 Tay, San Quinn and Messy Marv to name a few. Although he’s from the Bay, Lil Pete has worked to make his music bigger than that, not wanting to be pigeonholed as a local rapper.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The themes he touches in his music—like hustling, being on the streets—have an intense openness and honesty sometimes lacking in mainstream rap. The \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ua3-dGNbsOE\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for 2017’s “In This Life,” which has over 11 million views on YouTube, depicts poignant scenes of drug addiction, homelessness and the widening wealth gap eating away at the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lil Pete got his start in San Francisco, but it was really after he spent time in New York last year that he began developing the following he has now. There, the rapper collaborated with influential Southern rap artists like Juvenile and Bone Crusher, expanding his audience and his sound. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ua3-dGNbsOE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His older work, like the mixtape \u003c/span>\u003ca href=\"https://soundcloud.com/lilpete-4/sets/i-made-a-promise\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">I Made a Promise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, features the smooth, hyphy-inflected bounce many refer to as a “Bay Area sound.” And on his new album \u003ca href=\"https://empire.lnk.to/hardawayYo\" target=\"_blank\" rel=\"noopener\">\u003cem>Hardaway\u003c/em>\u003c/a>, out Sept. 6 via Empire and Pete’s own label, Public Housin’, an amalgamation of melancholic, sing-song lyricism and minimal trap drums lend his storytelling a mainstream, radio-friendly appeal. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On \u003cem>Hardaway\u003c/em>\u003c/span>\u003cspan style=\"font-weight: 400\">, Lil Pete takes command of his story for the first time. As someone who shies away from interviews—“A lot of people say I’m a closed-off person. Even though I make music, they don’t know a lot about me,” he admits—the album is a chance for Lil Pete to truly open up. “I’m telling them everything that happened in my life, what I’ve been seeing, what I’m going through now,” he says. “\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hardaway\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is gonna give the fans more of my life and let them share my journey.”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ZUJ7S8NEgzE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A core part of that journey, naturally, has been Lil Pete’s community. With his Filipino, Mexican, Black and Native American heritage, the rapper identifies deeply with many cultural groups. He describes his neighborhood as “rough”—though he didn’t think so when he was young. But as Lil Pete got older, many of his childhood friends passed away, or ended up in jail. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Living in San Francisco today, Lil Pete recognizes familiar patterns of crime and violence. But rather than feeling distant or discouraged, the rapper views his position as an opportunity to use his music to uplift his neighborhood. \u003c/span>\u003cspan style=\"font-weight: 400\">“It inspires me to get big in the music industry and give back to the community and help,” he says.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/grsR7QfgYfY\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To reach the level of exposure he hopes for, Lil Pete constantly pushes himself to broaden his music taste (A Boogie Wit Da Hoodie, Rihanna and PNB Rock are just a few artists he enjoys) and grow his style. He doesn’t want to pigeonhole himself solely as a street rapper, and wants to think bigger: “You know, sometimes rappers…feel like, ‘Oh, I gotta rap about the streets, I gotta rap about this,’” he says. “But sometimes you don’t, you limiting yourself.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this year, Lil Pete started Public Housin’, a record label dedicated to giving opportunity to \u003c/span>\u003ca href=\"https://www.instagram.com/p/Bv71BGogr-q/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">artists who come from communities like his\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And as he continues to grow his following, he hopes to become a mainstream artist—to get even bigger so that he can help other rising artists from his hometown have their break in music too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of people get to fame and don’t come back, or don’t show up for they city. But I feel like that’s not right, so I’m always here. I got brothers and sisters out here,” he says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I always come back.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in San Francisco’s historic Fillmore district, rapper LaPrell Gilton—better known as Lil Pete— joins a lineage of notable artists who call the neighborhood home: Rappin’ 4 Tay, San Quinn and Messy Marv to name a few. Although he’s from the Bay, Lil Pete has worked to make his music bigger than that, not wanting to be pigeonholed as a local rapper.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The themes he touches in his music—like hustling, being on the streets—have an intense openness and honesty sometimes lacking in mainstream rap. The \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ua3-dGNbsOE\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for 2017’s “In This Life,” which has over 11 million views on YouTube, depicts poignant scenes of drug addiction, homelessness and the widening wealth gap eating away at the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lil Pete got his start in San Francisco, but it was really after he spent time in New York last year that he began developing the following he has now. There, the rapper collaborated with influential Southern rap artists like Juvenile and Bone Crusher, expanding his audience and his sound. \u003c/span>\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/ua3-dGNbsOE'\n title='//www.youtube.com/embed/ua3-dGNbsOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">His older work, like the mixtape \u003c/span>\u003ca href=\"https://soundcloud.com/lilpete-4/sets/i-made-a-promise\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">I Made a Promise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, features the smooth, hyphy-inflected bounce many refer to as a “Bay Area sound.” And on his new album \u003ca href=\"https://empire.lnk.to/hardawayYo\" target=\"_blank\" rel=\"noopener\">\u003cem>Hardaway\u003c/em>\u003c/a>, out Sept. 6 via Empire and Pete’s own label, Public Housin’, an amalgamation of melancholic, sing-song lyricism and minimal trap drums lend his storytelling a mainstream, radio-friendly appeal. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On \u003cem>Hardaway\u003c/em>\u003c/span>\u003cspan style=\"font-weight: 400\">, Lil Pete takes command of his story for the first time. As someone who shies away from interviews—“A lot of people say I’m a closed-off person. Even though I make music, they don’t know a lot about me,” he admits—the album is a chance for Lil Pete to truly open up. “I’m telling them everything that happened in my life, what I’ve been seeing, what I’m going through now,” he says. “\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hardaway\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is gonna give the fans more of my life and let them share my journey.”\u003c/span>\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/ZUJ7S8NEgzE'\n title='//www.youtube.com/embed/ZUJ7S8NEgzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A core part of that journey, naturally, has been Lil Pete’s community. With his Filipino, Mexican, Black and Native American heritage, the rapper identifies deeply with many cultural groups. He describes his neighborhood as “rough”—though he didn’t think so when he was young. But as Lil Pete got older, many of his childhood friends passed away, or ended up in jail. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Living in San Francisco today, Lil Pete recognizes familiar patterns of crime and violence. But rather than feeling distant or discouraged, the rapper views his position as an opportunity to use his music to uplift his neighborhood. \u003c/span>\u003cspan style=\"font-weight: 400\">“It inspires me to get big in the music industry and give back to the community and help,” he says.\u003c/span>\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/grsR7QfgYfY'\n title='//www.youtube.com/embed/grsR7QfgYfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">To reach the level of exposure he hopes for, Lil Pete constantly pushes himself to broaden his music taste (A Boogie Wit Da Hoodie, Rihanna and PNB Rock are just a few artists he enjoys) and grow his style. He doesn’t want to pigeonhole himself solely as a street rapper, and wants to think bigger: “You know, sometimes rappers…feel like, ‘Oh, I gotta rap about the streets, I gotta rap about this,’” he says. “But sometimes you don’t, you limiting yourself.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earlier this year, Lil Pete started Public Housin’, a record label dedicated to giving opportunity to \u003c/span>\u003ca href=\"https://www.instagram.com/p/Bv71BGogr-q/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">artists who come from communities like his\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And as he continues to grow his following, he hopes to become a mainstream artist—to get even bigger so that he can help other rising artists from his hometown have their break in music too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of people get to fame and don’t come back, or don’t show up for they city. But I feel like that’s not right, so I’m always here. I got brothers and sisters out here,” he says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I always come back.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. [aside postID=news_11764921]\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” [aside postid='arts_13816362']\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>[pullquote align='right' citation='Sharmi Basu']“The justice system isn’t going to provide the systemic reform we need.”[/pullquote]\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. [aside postid='arts_12484175']\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"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>",
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"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 $116\u003c/a> in 2015 and Taylor Swift has a policy of \u003ca href=\"https://www.quora.com/Why-doesnt-Taylor-Swift-do-meet-and-greets\" target=\"_blank\" rel=\"noopener noreferrer\">not charging fans\u003c/a> to meet her at all.) One of the great ironies of all this is that Leto declared the band “\u003ca href=\"https://www.rollingstone.com/music/music-news/why-jared-leto-made-a-music-industry-documentary-186649/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-greed\u003c/a>” in 2013.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band’s obsession with money is not invisible to their faithful following, but observing fans discussing the cost of loving Thirty Seconds to Mars online can be rattling. There is a sense that while some of them feel ripped off, they are also fearful of fully expressing their disillusionment. In a lengthy article about the tightening of restrictions during signing sessions with the band, \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">one blogger wrote\u003c/a>: “The 10 seconds it took for them to sign PLUS the few minutes they’d stop in order to collect the present you brought them… seems short for the amount of money… but it was usually quite fun.” \u003ca href=\"https://aiwfiasco2013.wordpress.com/2013/01/31/the-adventures-in-wonderland-fiasco-of-2013-aka-the-ultimate-greed-of-30-seconds-to-mars/\" target=\"_blank\" rel=\"noopener noreferrer\">Another wrote\u003c/a>: “I paid 250$ 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>",
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"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>",
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"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>",
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"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>",
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"content": "\u003cp>\u003ca href=\"http://www.sfemf.org/\">The San Francisco Electronic Music Festival\u003c/a>, founded twenty years ago, is an artist run, multi-day showcase at the Mission District’s Brava Theater Center that reliably spotlights an international cast of composers, improvisers, synthesists and sound artists. Programmed by a rotating committee of local artists, the lineup this year features headliners John Wiese, the noise figure known from Sissy Spacek and Sunn O))); Carl Stone, the minimalist and sample-based electronic music innovator; and the electro-acoustic composer Maggi Payne, a Bay Area experimental fixture through her longtime post at Mills College. (The Space Lady, psych-pop busker of the 1990s lately enjoying a resurgence, is no longer playing.) The roster balances academic or programmatic work with less cerebral yet still challenging fare, and brings together different generations of artists. A separately ticketed prequel to the festival occurs Thursday at Envelop, an immersive audio venue involving 32 speakers within the Midway (“\u003ca href=\"https://www.envelop.us/envelop-sf\">the entire room is an instrument\u003c/a>”), with prerecorded multi-channel works by Amy X Neuburg, Jim O’Rourke and My Cat is an Alien. \u003cem>—Sam Lefebvre\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"title": "The Do List: Listen to Our Weekend Picks for Sept. 6–8 | KQED",
"description": "On this week's Do List, we're talking about free music in two different parks, the black choreographers festival and more. ",
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"headline": "The Do List: Listen to Our Weekend Picks for Sept. 6–8",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sam Lefebvre discuss their critic’s picks for this weekend at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Opera in the Park\u003c/strong>: How can you go wrong with arias and other music from SF Opera’s upcoming season, in Golden Gate Park, for free? Opera snippets you might hear include Gounod’s \u003cem>Romeo and Juliet\u003c/em>, Britten’s \u003cem>Billy Budd\u003c/em>, Mozart’s \u003cem>Marriage of Figaro\u003c/em>, or even the new opera about Steve Jobs by local composer Mason Bates. We’re always in favor of so-called “high art” being as accessible as possible, and this is a great way for kids, students, or people curious about opera to experience it. That’s Sunday, Sept. 8, at Robin Williams Meadow in Golden Gate Park. \u003ca href=\"https://sfopera.com/discover-opera/free-events/opera-in-the-park/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Underground Living’ Book Release\u003c/strong>: V. Vale, a San Francisco publishing legend, has his first-ever book of photography coming out. Vale was the one behind the old fanzines \u003cem>Search & Destroy\u003c/em> and \u003cem>RE/Search\u003c/em>, and since the late ’70s he’s really obsessively documented San Francisco punk and industrial scenes, as well as a wide variety of subcultural offshoots, under the banner of RE/Search Publications. Yet it’s only now that he’s beginning to share his photography from this journey, including photos from the first-ever Ramones show in the Bay Area. He celebrates the book’s release at City Lights in San Francisco on Sunday, Sept. 8. \u003ca href=\"https://www.kqed.org/arts/13865218/v-vale-tireless-counterculture-chronicler-releases-first-ever-photo-book-at-city-lights\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Body Electric’\u003c/strong>: Only in the Bay Area would an underground figure like V. Vale exist alongside the headquarters of Google, Apple, and Facebook. So I’m glad for ‘The Body Electric,’ a giant show at YBCA exploring the intersection of art, tech, and the human body. The exhibit incorporates video, sculpture, virtual reality, and photography, and it zeros in on themes of race, gender, and class. It comes here from the Walker Art Center in Minneapolis, and it’s a natural touring show for the Bay Area, where we’re always trying to get art and tech to talk to each other more smoothly. It opens Friday, Sept. 6, and runs through January of next year, at YBCA in San Francisco. \u003ca href=\"https://ybca.org/event/the-body-electric/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Black Choreographers Festival\u003c/strong>: The Malonga Casquelourd Center for the Arts is an essential performing arts hub for the East Bay, which hosts this dance festival this weekend. Saturday features new works by artists including Kendra Kimbrough Barnes, Gregory Dawson and Reginald Savage, and then on Sunday, the program spotlights youth dance groups from around the Bay. There’s satellite programming and several noteworthy performers and organizers involved here, so check out their website. It runs Sept. 7 and 8 at Malonga Casquelourd Center for the Arts. \u003ca href=\"https://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Giraffage and Astronautica\u003c/strong>: You might expect a place called the Jerry Garcia Amphitheater to be in the Haight-Ashbury, but no, it’s in the Excelsior neighborhood of San Francisco, which is where Jerry Garcia grew up. But the amphitheater isn’t used as much as it should be, especially for music, which makes this show there on Saturday with some electronic artists really welcome. It’s free, and the performers reflect the demographics of the neighborhood—this weekend, it’s Giraffage, the stage name of electronic producer Charlie Yin, whose music you just heard, and Astronautica, the stage name of Edrina Martinez. That’s the middle of McLaren Park, at at Jerry Garcia Amphitheater, on Saturday, Sept. 7. \u003ca href=\"http://events.noisepop.com/events/2019/9/7/due-south-free-sf-concert\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Daps and Hugs: I'm Moving Out of Oakland",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Daps and Hugs: I'm Moving Out of Oakland | KQED",
"description": "How do you say goodbye to one of the greatest pieces of turf on this earth?",
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"headline": "Daps and Hugs: I'm Moving Out of Oakland",
"datePublished": "2019-09-04T17:00:42-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hieroglyphics’ Hip-Hop Holy Day Celebrated the Bay Area’s Independent Spirit",
"headTitle": "Hieroglyphics’ Hip-Hop Holy Day Celebrated the Bay Area’s Independent Spirit | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>lthough Oakland hip-hop collective \u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hieroglyphics\u003c/a> headlines \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a> every year, Souls of Mischief member Adam “A-Plus” Carter points out that “Hiero Day isn’t Hiero-centric.” In other words, the festival isn’t so much a celebration of all things Hiero as it is an affirmation of hip-hop’s—and the Bay Area’s—independent spirit.\u003c/p>\n\u003cp>Indeed, Hieroglyphics’ brief 30-minute closing set was almost an afterthought on Sept. 2, as the festival’s eighth edition featured non-stop highlights. These included a jazzy, soulful and grown-up set by the Midnight Hour (a project by Ali Shaheed Muhammad and Adrian Younge); a surprise cameo by Queens hip-hop veteran the Large Professor; the debut live performance of an East-meets-West collaboration between Mount Vernon’s Pete Rock and Oakland’s Yukmouth; a fierce performance by “Gangster Goddess” Medusa; and an early set by bilingual MC Deuce Eclipse and DJ El Kool Kyle on the Infinity Stage. [aside postid='arts_13864913']\u003c/p>\n\u003cp>Even a technical glitch, which forced the early closure of one of the stages and some rerouting of artists, couldn’t kill the vibe, which remained resolutely upbeat.\u003c/p>\n\u003cp>Over the years, Hiero Day has morphed from a free block party featuring a few Bay Area and West Coast comrades to an all-star hip-hop extravaganza with musical talent from across the country, attracting fans from as far away as Australia and Japan. As the event has grown in size—it passed the 25,000 attendance mark a few years back—it’s also grown in stature while remaining uniquely organic and homegrown.\u003c/p>\n\u003cp>This year saw the event expand throughout Labor Day weekend, with a Family Day event at DeFremery Park and a collaboration with the 45 Sessions, featuring legendary DJs (including Breakbeat Lou and Diamond D) spinning all-7” sets. The festival itself boasted three stages of live music and DJs, food trucks, vendors and positive vibes everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13865653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg\" alt=\"Rapper Queens D.Light performs at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Queens D.Light performs at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a fan perspective, Hiero Day is something akin to a Bay Area holy day—a chance to participate in a contemporary cultural ritual with tens of thousands of like-minded people spanning a multitude of ages and ethnic backgrounds. For the artists themselves, Hiero Day is an affirmation of authentic acceptance into elite hip-hop status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yukmouth counts Hiero as not only an inspiration to him, but a positive influence on Oakland youth. “It’s definitely a rite of passage, for Oakland and Bay Area rap, just for hip hop period,” he says. “And it’s a Bay Area movement that’s so strong, you ain’t never seen so much peace in the streets. With 30–35,000 people strong. Blocks and blocks down Oakland. Peacefully. No fights, no disputes. Everybody having fun and partying.”\u003c/p>\n\u003cp>For A-Plus, Hiero Day is a “surreal” experience. Not just in the sense that it’s named after his crew, or that it’s become symbolic of the group’s ongoing contributions to a living history, but also because it’s a family affair. “Best part of Hiero Day to me is bringing my son every year,” he says. “The last few years, his little brother has been coming as well. As well as his mom’s side of the family.” Apart from the occasional Jamaican event, he says, Hiero Day is the only event that can bring out his entire extended family—including both his parents, who have been separated for years.\u003c/p>\n\u003cp>Damian “Domino” Siguenza, a producer who’s also served as Hiero’s label manager, tour manager and booking agent at various times, agrees. The festival, he says, is “our way of giving back to our community that supported us all these years, and, you know, give back to the community in the form of art.”\u003c/p>\n\u003cfigure id=\"attachment_13865657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg\" alt=\"Pioneering Bronx DJ Diamond D performs at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pioneering Bronx DJ Diamond D performs at Hiero Day x 45 Sessions at the Uptown. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it’s evolved, he adds, the gathering itself has become the main attraction, over and above any particular artist on the bill. “It’s almost like, I don’t think the groups who are playing are as much of a factor on whether someone’s gonna come,” says Domino. “People just kind of make it, this is what they do.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he number eight holds particular significance for Hieroglyphics, in that their iconic symbol—three dots above a straight line—represents that number in the Mayan numerology system. Even more significance can be gleaned from the fact that Hiero has been touring this year in commemoration of their groundbreaking \u003cem>Third Eye Vision\u003c/em> album, released in 1998.\u003c/p>\n\u003cp>As Domino recalls, “The initial goal for us was, OK, let’s put out this Hiero record, get a little buzz, and then we can get everyone signed again [to a major label].” [aside postid='arts_13864717']\u003c/p>\n\u003cp>But once the album was released, the group soon found that their DIY approach worked better for them than a major-label record deal. “We were making more money and we were touring more than we were when we were on Jive,” says Domino. “It kind of opened our eye to, hey, this is really the way to go.” This led to “the important thing, which is ownership. Control of not only your masters and publishing or whatever, but also control of the marketing. Control of how you disseminate information on your record and picking the singles.”\u003c/p>\n\u003cp>To rappers like Yukmouth, Hiero has become ubiquitous. “They’re worldwide. They were one of the first groups out of Oakland to be accepted by New York. That’s a hard market to even be accepted in,” he says. “They have a cult following and I’m glad I grew up with these dudes. And watched ‘em do it from the bottom to the top. It remains a totem pole in the hip-hop game and in the Bay Area rap culture.”\u003c/p>\n\u003cfigure id=\"attachment_13865658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg\" alt=\"Dante Ross and Tajai of Souls of Mischief at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dante Ross and Tajai of Souls of Mischief backstage at Hiero Day x 45 Sessions. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45 Sessions founder DJ Platurn, who’s spun at Hiero Day for five of its eight years, explains that Hieroglyphics’ sample-based, conscious hip-hop sound marked an important departure from what other established Bay Area artists, like E-40 and Too Short, were doing in the ’90s and 2000s. “What is really important about what Hiero means to us as DJs, and diggers, and hardcore music aficionados, is that they came along at a very important time that showed that there’s more to the scene than [what] the Bay is traditionally known for,” he says. [aside postid='arts_13865042']\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>egendary A&R and Hiero Day DJ performer Dante Ross, who signed Hiero founder Del the Funky Homosapien to Elektra in the early ’90s, recalls Ice Cube sending him Del’s demos. “It was the first time I heard somebody from the West Coast who reminded me of the Native Tongues,” Ross recalls. “He had his own style, but you could see the synergy.” There were other lyrical West Coasts artists, he says, “but I hadn’t heard anything quite like Del before.”\u003c/p>\n\u003cp>Within the hip-hop ecosystem, Ross says, “Hiero are a unique voice. To this day, there hasn’t been anyone who did exactly what they did in the Bay Area. They had their own style, their own voice, even their own slang. Their Bay Area slang was not Town slang, necessarily. They had their own perspective on everything.”\u003c/p>\n\u003cfigure id=\"attachment_13865661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg\" alt=\"DJ Lady Ryan at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lady Ryan at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to typical West Coast gangster rappers popular at that time, “[Hiero] were way more intricate and a little more advanced. They had their own style of production, which was sample-based, and to me, that’s one of the reasons they’ve had so much longevity.”\u003c/p>\n\u003cp>To date, Hieroglyphics have collectively released three group albums, and innumerable solo albums and side projects, from 2000’s \u003cem>Deltron 3030 \u003c/em>to 2019’s \u003cem>Stoney Hawk\u003c/em>.\u003c/p>\n\u003cp>A-Plus isn’t sure when their next group album will be released, but notes that Hiero Day has made up in some ways for the gap between albums by keeping the crew in the spotlight. The celebration is also something that helps the collective—who were teenagers when they started and now each have their own families—stay connected to each other. Yet despite its apparent success, he says, Hiero Day remains a grassroots undertaking and hasn’t yet become a cash cow.\u003c/p>\n\u003cp>As A-Plus puts it, “It’s a labor of love.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "As it's grown in size and stature, Hiero Day has remained a down-to-earth celebration of local, independent hip-hop culture. ",
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"title": "Hieroglyphics’ Hip-Hop Holy Day Celebrated the Bay Area’s Independent Spirit | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>lthough Oakland hip-hop collective \u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hieroglyphics\u003c/a> headlines \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a> every year, Souls of Mischief member Adam “A-Plus” Carter points out that “Hiero Day isn’t Hiero-centric.” In other words, the festival isn’t so much a celebration of all things Hiero as it is an affirmation of hip-hop’s—and the Bay Area’s—independent spirit.\u003c/p>\n\u003cp>Indeed, Hieroglyphics’ brief 30-minute closing set was almost an afterthought on Sept. 2, as the festival’s eighth edition featured non-stop highlights. These included a jazzy, soulful and grown-up set by the Midnight Hour (a project by Ali Shaheed Muhammad and Adrian Younge); a surprise cameo by Queens hip-hop veteran the Large Professor; the debut live performance of an East-meets-West collaboration between Mount Vernon’s Pete Rock and Oakland’s Yukmouth; a fierce performance by “Gangster Goddess” Medusa; and an early set by bilingual MC Deuce Eclipse and DJ El Kool Kyle on the Infinity Stage. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even a technical glitch, which forced the early closure of one of the stages and some rerouting of artists, couldn’t kill the vibe, which remained resolutely upbeat.\u003c/p>\n\u003cp>Over the years, Hiero Day has morphed from a free block party featuring a few Bay Area and West Coast comrades to an all-star hip-hop extravaganza with musical talent from across the country, attracting fans from as far away as Australia and Japan. As the event has grown in size—it passed the 25,000 attendance mark a few years back—it’s also grown in stature while remaining uniquely organic and homegrown.\u003c/p>\n\u003cp>This year saw the event expand throughout Labor Day weekend, with a Family Day event at DeFremery Park and a collaboration with the 45 Sessions, featuring legendary DJs (including Breakbeat Lou and Diamond D) spinning all-7” sets. The festival itself boasted three stages of live music and DJs, food trucks, vendors and positive vibes everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13865653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg\" alt=\"Rapper Queens D.Light performs at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Queens D.Light performs at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a fan perspective, Hiero Day is something akin to a Bay Area holy day—a chance to participate in a contemporary cultural ritual with tens of thousands of like-minded people spanning a multitude of ages and ethnic backgrounds. For the artists themselves, Hiero Day is an affirmation of authentic acceptance into elite hip-hop status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yukmouth counts Hiero as not only an inspiration to him, but a positive influence on Oakland youth. “It’s definitely a rite of passage, for Oakland and Bay Area rap, just for hip hop period,” he says. “And it’s a Bay Area movement that’s so strong, you ain’t never seen so much peace in the streets. With 30–35,000 people strong. Blocks and blocks down Oakland. Peacefully. No fights, no disputes. Everybody having fun and partying.”\u003c/p>\n\u003cp>For A-Plus, Hiero Day is a “surreal” experience. Not just in the sense that it’s named after his crew, or that it’s become symbolic of the group’s ongoing contributions to a living history, but also because it’s a family affair. “Best part of Hiero Day to me is bringing my son every year,” he says. “The last few years, his little brother has been coming as well. As well as his mom’s side of the family.” Apart from the occasional Jamaican event, he says, Hiero Day is the only event that can bring out his entire extended family—including both his parents, who have been separated for years.\u003c/p>\n\u003cp>Damian “Domino” Siguenza, a producer who’s also served as Hiero’s label manager, tour manager and booking agent at various times, agrees. The festival, he says, is “our way of giving back to our community that supported us all these years, and, you know, give back to the community in the form of art.”\u003c/p>\n\u003cfigure id=\"attachment_13865657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg\" alt=\"Pioneering Bronx DJ Diamond D performs at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pioneering Bronx DJ Diamond D performs at Hiero Day x 45 Sessions at the Uptown. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it’s evolved, he adds, the gathering itself has become the main attraction, over and above any particular artist on the bill. “It’s almost like, I don’t think the groups who are playing are as much of a factor on whether someone’s gonna come,” says Domino. “People just kind of make it, this is what they do.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he number eight holds particular significance for Hieroglyphics, in that their iconic symbol—three dots above a straight line—represents that number in the Mayan numerology system. Even more significance can be gleaned from the fact that Hiero has been touring this year in commemoration of their groundbreaking \u003cem>Third Eye Vision\u003c/em> album, released in 1998.\u003c/p>\n\u003cp>As Domino recalls, “The initial goal for us was, OK, let’s put out this Hiero record, get a little buzz, and then we can get everyone signed again [to a major label].” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But once the album was released, the group soon found that their DIY approach worked better for them than a major-label record deal. “We were making more money and we were touring more than we were when we were on Jive,” says Domino. “It kind of opened our eye to, hey, this is really the way to go.” This led to “the important thing, which is ownership. Control of not only your masters and publishing or whatever, but also control of the marketing. Control of how you disseminate information on your record and picking the singles.”\u003c/p>\n\u003cp>To rappers like Yukmouth, Hiero has become ubiquitous. “They’re worldwide. They were one of the first groups out of Oakland to be accepted by New York. That’s a hard market to even be accepted in,” he says. “They have a cult following and I’m glad I grew up with these dudes. And watched ‘em do it from the bottom to the top. It remains a totem pole in the hip-hop game and in the Bay Area rap culture.”\u003c/p>\n\u003cfigure id=\"attachment_13865658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg\" alt=\"Dante Ross and Tajai of Souls of Mischief at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dante Ross and Tajai of Souls of Mischief backstage at Hiero Day x 45 Sessions. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45 Sessions founder DJ Platurn, who’s spun at Hiero Day for five of its eight years, explains that Hieroglyphics’ sample-based, conscious hip-hop sound marked an important departure from what other established Bay Area artists, like E-40 and Too Short, were doing in the ’90s and 2000s. “What is really important about what Hiero means to us as DJs, and diggers, and hardcore music aficionados, is that they came along at a very important time that showed that there’s more to the scene than [what] the Bay is traditionally known for,” he says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>egendary A&R and Hiero Day DJ performer Dante Ross, who signed Hiero founder Del the Funky Homosapien to Elektra in the early ’90s, recalls Ice Cube sending him Del’s demos. “It was the first time I heard somebody from the West Coast who reminded me of the Native Tongues,” Ross recalls. “He had his own style, but you could see the synergy.” There were other lyrical West Coasts artists, he says, “but I hadn’t heard anything quite like Del before.”\u003c/p>\n\u003cp>Within the hip-hop ecosystem, Ross says, “Hiero are a unique voice. To this day, there hasn’t been anyone who did exactly what they did in the Bay Area. They had their own style, their own voice, even their own slang. Their Bay Area slang was not Town slang, necessarily. They had their own perspective on everything.”\u003c/p>\n\u003cfigure id=\"attachment_13865661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg\" alt=\"DJ Lady Ryan at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lady Ryan at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to typical West Coast gangster rappers popular at that time, “[Hiero] were way more intricate and a little more advanced. They had their own style of production, which was sample-based, and to me, that’s one of the reasons they’ve had so much longevity.”\u003c/p>\n\u003cp>To date, Hieroglyphics have collectively released three group albums, and innumerable solo albums and side projects, from 2000’s \u003cem>Deltron 3030 \u003c/em>to 2019’s \u003cem>Stoney Hawk\u003c/em>.\u003c/p>\n\u003cp>A-Plus isn’t sure when their next group album will be released, but notes that Hiero Day has made up in some ways for the gap between albums by keeping the crew in the spotlight. The celebration is also something that helps the collective—who were teenagers when they started and now each have their own families—stay connected to each other. Yet despite its apparent success, he says, Hiero Day remains a grassroots undertaking and hasn’t yet become a cash cow.\u003c/p>\n\u003cp>As A-Plus puts it, “It’s a labor of love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Michael Tilson Thomas Looks to His Final Season as SF Symphony Music Director",
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"content": "\u003cp>\u003ca href=\"https://michaeltilsonthomas.com/\" target=\"_blank\" rel=\"noopener\">Michael Tilson Thomas\u003c/a> says one of the best things about being music director of the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> is the variety. [aside postid='arts_13864717']\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica drummer Lars Ulrich, a regular concertgoer at Davies Symphony Hall, says he loves watching Thomas in action on the podium.\u003c/p>\n\u003cp>“Every time, it’s an incredibly enriching experience,” Ulrich says.\u003c/p>\n\u003cp>Discussing his views on his role, Thomas says cultural institutions have a responsibility to enrich people’s lives beyond entertainment. [aside postid='arts_13861650']\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Bassist and Massage Therapist Relies on Her Hands to Survive the Bay Area Economy",
"headTitle": "A Bassist and Massage Therapist Relies on Her Hands to Survive the Bay Area Economy | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>azz bassist \u003ca href=\"https://www.facebook.com/carolinebass007\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Chung\u003c/a> has been gigging in the Bay Area since 1999, so she knows how to be resourceful. On a recent afternoon, I meet her poolside at an upscale apartment tower in Oakland’s Jack London neighborhood. She has the keys because she’s watching an old, fluffy toy dog whose owner is out of town—one of the many side hustles she’s taken on as an independent musician in a region with more billionaires per capita than anywhere else in the world.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: Around $800/month\u003c/li>\n\u003cli>Music income: $15,000/year\u003c/li>\n\u003cli>Massage therapy income: $15,000/year\u003c/li>\n\u003cli>Studio space: $0/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>We settle into a cushioned cabana among the building’s well-tanned, Botoxed and muscled residents. A group of dudes with six packs (both beer and abdominal) fire up a grill; a woman in a bikini lounges while watching Netflix on her phone. It’s Monday, but none of them seem to be in a rush.\u003c/p>\n\u003cp>These fancy digs aren’t the norm for Chung, but her house-sitting side jobs allow her to enjoy such occasional luxuries. Before we dip into the pool, she reflects on the self-care rituals that help her stay sane in the Bay Area’s high-pressure economic climate.\u003c/p>\n\u003cp>“Part of it is having that quiet, introspective, meditative time,” she says. “I spend a lot of time writing music, and I feel like it keeps me grounded.”\u003c/p>\n\u003cfigure id=\"attachment_13865411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-800x533.jpg\" alt=\"Chung's spacious West Oakland home is where her ensemble Citizens Jazz practices, so she doesn't have to rent a separate practice space.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chung’s spacious West Oakland home is where her ensemble Citizens Jazz practices, so she doesn’t have to rent a separate practice space. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chung lives not far from where we meet, in a three-bedroom West Oakland house she shares with two roommates. The other half of their duplex is the office of a social justice nonprofit, so there are no neighbors to bother when Chung has band practice there with her ensemble, Citizens Jazz.\u003c/p>\n\u003cp>“I got lucky with this place because the landlord is very reasonable, and he’s a jazz fan,” says Chung. Her third of the rent is just over $800, and because she can practice at home—even with a drum kit, which would be a no-go in an apartment building—she saves hundreds of dollars a month, not to mention time commuting since she doesn’t have to rent a separate practice space.\u003c/p>\n\u003cp>Chung has lived in the Bay Area for 20 years (with a brief stint in New York around 2008), and she’s weathered the jazz scene’s expansions and contractions, which usually go hand-in-hand with larger economic forces. With \u003ca href=\"https://www.kqed.org/arts/13863963/why-wil-blades-is-the-latest-celebrated-jazz-musician-to-leave-the-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">venues closing\u003c/a> and changing management over the years, work hasn’t been quite as plentiful as it once was. “Even though my playing has gotten better, I feel like I have fewer regular gigs than I did,” she says.\u003c/p>\n\u003cp>Chung typically performs once or twice a week; she has a residency at the upscale North Beach cocktail bar Comstock Saloon, where she plays every other Wednesday. She also gets bookings for weddings and events through the app \u003ca href=\"https://www.thumbtack.com/ca/oakland/bands-for-hire/citizens-jazz/service/120081237787133166\" target=\"_blank\" rel=\"noopener noreferrer\">Thumbtack\u003c/a>, a marketplace for freelancers of all kinds. Those jobs typically pay two to three times more than a restaurant or bar gig, Chung says.\u003c/p>\n\u003cfigure id=\"attachment_13865414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865414\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-800x533.jpg\" alt=\"Alone time to think and reflect is how Caroline Chung says grounded amid the Bay Area's high-pressure economic climate.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alone time to think and reflect is how Caroline Chung says grounded amid the Bay Area’s high-pressure economic climate. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> nimble player with varied tastes, Chung is just as likely to perform a tribute to bebop great Dizzy Gillespie or swing composer Billy Strayhorn as she is to lead her band in a bossa nova and Latin jazz set. She runs Citizens Jazz as a loose collective; the size of the ensemble depends on the client’s budget, which allows her to pay her bandmates the fairest possible wage.\u003c/p>\n\u003cp>[pullquote size='medium' citation='Caroline Chung']‘Very early on, I learned to do my own thing and get my own gigs.’[/pullquote]\u003c/p>\n\u003cp>Making sure everyone in her band is well compensated is front-of-mind for Chung, but her role as a bandleader also came out of necessity in what she describes as a male-dominated scene where women musicians are often taken less seriously, and hired less frequently. “Very early on, I learned to do my own thing and get my own gigs,” she says. “Most of my gigging is the gigs that I get, and I hire the musicians because otherwise I would never work.”\u003c/p>\n\u003cp>Chung estimates that about 45 percent of her $35,000 annual income comes from music. It used to be 100 percent, but she went to school to become licensed as a massage therapist in 2014 after losing several regular shows—including her Friday and Saturday nights at the now-shuttered Burritt Room, which were a crucial moneymaker. Several other gigs disappeared after bars changed management, and the new managers decided to replace Citizens Jazz with their friends’ bands, she says.\u003c/p>\n\u003cp>“I just got really fed up where I was ready to give up music, which is why I went into massage therapy school,” she says. “I’m glad I did that because I don’t have to stress out anymore.”\u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study,Why Do Employers Lowball Creatives? A New Study Has Answers' target=_blank]\u003c/p>\n\u003cp>For her day job, Chung does massage 12 hours a week at Piedmont Spa and two hours a week at Kaiser’s KP Fit program, with her going rate at $40 to $60 an hour. (As an upright bassist and massage therapist, she’s developed what are likely some of the strongest hands in the Bay Area.) She says massage therapy brings in about 45 percent of her income, and the remaining 10 percent comes from odd jobs like pet sitting and house sitting.\u003c/p>\n\u003cp>Later that afternoon, Chung hosts musician friends in the Jack London building’s spacious lounge, and one of her friends cooks the group an aromatic Indian feast. “It’s nice, sometimes I forget that all I have to do is make the effort to gather people,” she says. “Sometimes I do spend too much time alone, and I know you need to get out, especially if you want to meet musicians who might hire you.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hough Chung’s income is modest for this region (the median household income in Oakland is just over $63,000), she’s found ways to thrive. She rarely eats out, only splurging on organic, sustainable food occasionally. And she thrifts her clothes, like the stylish batik-print shift dress she’s wearing when we meet up. “I have more fun going thrift store shopping anyways,” she says.\u003c/p>\n\u003cp>And, a testament to her generous personality, she still finds time and money to help people without housing in her neighborhood, buying them food and making calls to help connect them to resources. She tells me about a gentleman she befriended recently who wants to get off the streets.\u003c/p>\n\u003cp>“Part of the time I feel like I’m running around acting like a social worker,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13865412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">About half of Caroline Chung’s income comes from massage therapy, though she spends considerably fewer hours on it per week than her music practice. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With no federal or state laws guaranteeing musicians a fair wage, Chung has faced challenges advocating for herself over the years. She tells me about a time a bar manager cancelled on her last minute—despite the fact that she invested time rehearsing, and turned down other opportunities to take that job. When Chung asked him to pay half of her rate for the last minute cancellation (a standard practice in many other industries that rely on contract workers, including journalism), the manager paid up but never booked her again.\u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>“They were really bothered by that,” she sighs. “Even if you stand up for what you feel is fair, they will take that as a negative.”\u003c/p>\n\u003cp>Being a professional jazz musician takes years of training, and hours of weekly practice. Yet Chung says that many venues in the Bay Area pay only $20–$40 per musician for a three-hour gig, which factors out to less than minimum wage (she refuses to play unless everyone in her band is well compensated for their time). In 2011, Chung attempted to organize a musicians’ boycott of underpaying bars and clubs. Unfortunately, she realized that even if more experienced players held out, young, eager up-and-comers would gladly take their spot for next to nothing.\u003c/p>\n\u003cp>“I do think it’s important for musicians to not play gigs where they’re not paying you or treating you fairly,” she says. “It’s kind of the only way you can make a statement.”\u003c/p>\n\u003cp>Chung doesn’t pretend that being a musician in the Bay Area is easy. But through determination and a realist perspective, she’s making it work.\u003c/p>\n\u003cp>“My overall goal is to be the best musician I can be, and try to not focus on other people’s successes and comparisons because it’s so easy to get down,” she says. “Now that I’m older, I’ve learned to have a personal relationship with the music without letting anything else get in the way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>azz bassist \u003ca href=\"https://www.facebook.com/carolinebass007\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Chung\u003c/a> has been gigging in the Bay Area since 1999, so she knows how to be resourceful. On a recent afternoon, I meet her poolside at an upscale apartment tower in Oakland’s Jack London neighborhood. She has the keys because she’s watching an old, fluffy toy dog whose owner is out of town—one of the many side hustles she’s taken on as an independent musician in a region with more billionaires per capita than anywhere else in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: Around $800/month\u003c/li>\n\u003cli>Music income: $15,000/year\u003c/li>\n\u003cli>Massage therapy income: $15,000/year\u003c/li>\n\u003cli>Studio space: $0/month\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We settle into a cushioned cabana among the building’s well-tanned, Botoxed and muscled residents. A group of dudes with six packs (both beer and abdominal) fire up a grill; a woman in a bikini lounges while watching Netflix on her phone. It’s Monday, but none of them seem to be in a rush.\u003c/p>\n\u003cp>These fancy digs aren’t the norm for Chung, but her house-sitting side jobs allow her to enjoy such occasional luxuries. Before we dip into the pool, she reflects on the self-care rituals that help her stay sane in the Bay Area’s high-pressure economic climate.\u003c/p>\n\u003cp>“Part of it is having that quiet, introspective, meditative time,” she says. “I spend a lot of time writing music, and I feel like it keeps me grounded.”\u003c/p>\n\u003cfigure id=\"attachment_13865411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-800x533.jpg\" alt=\"Chung's spacious West Oakland home is where her ensemble Citizens Jazz practices, so she doesn't have to rent a separate practice space.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_6_hires.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chung’s spacious West Oakland home is where her ensemble Citizens Jazz practices, so she doesn’t have to rent a separate practice space. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chung lives not far from where we meet, in a three-bedroom West Oakland house she shares with two roommates. The other half of their duplex is the office of a social justice nonprofit, so there are no neighbors to bother when Chung has band practice there with her ensemble, Citizens Jazz.\u003c/p>\n\u003cp>“I got lucky with this place because the landlord is very reasonable, and he’s a jazz fan,” says Chung. Her third of the rent is just over $800, and because she can practice at home—even with a drum kit, which would be a no-go in an apartment building—she saves hundreds of dollars a month, not to mention time commuting since she doesn’t have to rent a separate practice space.\u003c/p>\n\u003cp>Chung has lived in the Bay Area for 20 years (with a brief stint in New York around 2008), and she’s weathered the jazz scene’s expansions and contractions, which usually go hand-in-hand with larger economic forces. With \u003ca href=\"https://www.kqed.org/arts/13863963/why-wil-blades-is-the-latest-celebrated-jazz-musician-to-leave-the-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">venues closing\u003c/a> and changing management over the years, work hasn’t been quite as plentiful as it once was. “Even though my playing has gotten better, I feel like I have fewer regular gigs than I did,” she says.\u003c/p>\n\u003cp>Chung typically performs once or twice a week; she has a residency at the upscale North Beach cocktail bar Comstock Saloon, where she plays every other Wednesday. She also gets bookings for weddings and events through the app \u003ca href=\"https://www.thumbtack.com/ca/oakland/bands-for-hire/citizens-jazz/service/120081237787133166\" target=\"_blank\" rel=\"noopener noreferrer\">Thumbtack\u003c/a>, a marketplace for freelancers of all kinds. Those jobs typically pay two to three times more than a restaurant or bar gig, Chung says.\u003c/p>\n\u003cfigure id=\"attachment_13865414\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865414\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-800x533.jpg\" alt=\"Alone time to think and reflect is how Caroline Chung says grounded amid the Bay Area's high-pressure economic climate.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_10_hires.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alone time to think and reflect is how Caroline Chung says grounded amid the Bay Area’s high-pressure economic climate. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> nimble player with varied tastes, Chung is just as likely to perform a tribute to bebop great Dizzy Gillespie or swing composer Billy Strayhorn as she is to lead her band in a bossa nova and Latin jazz set. She runs Citizens Jazz as a loose collective; the size of the ensemble depends on the client’s budget, which allows her to pay her bandmates the fairest possible wage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Making sure everyone in her band is well compensated is front-of-mind for Chung, but her role as a bandleader also came out of necessity in what she describes as a male-dominated scene where women musicians are often taken less seriously, and hired less frequently. “Very early on, I learned to do my own thing and get my own gigs,” she says. “Most of my gigging is the gigs that I get, and I hire the musicians because otherwise I would never work.”\u003c/p>\n\u003cp>Chung estimates that about 45 percent of her $35,000 annual income comes from music. It used to be 100 percent, but she went to school to become licensed as a massage therapist in 2014 after losing several regular shows—including her Friday and Saturday nights at the now-shuttered Burritt Room, which were a crucial moneymaker. Several other gigs disappeared after bars changed management, and the new managers decided to replace Citizens Jazz with their friends’ bands, she says.\u003c/p>\n\u003cp>“I just got really fed up where I was ready to give up music, which is why I went into massage therapy school,” she says. “I’m glad I did that because I don’t have to stress out anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For her day job, Chung does massage 12 hours a week at Piedmont Spa and two hours a week at Kaiser’s KP Fit program, with her going rate at $40 to $60 an hour. (As an upright bassist and massage therapist, she’s developed what are likely some of the strongest hands in the Bay Area.) She says massage therapy brings in about 45 percent of her income, and the remaining 10 percent comes from odd jobs like pet sitting and house sitting.\u003c/p>\n\u003cp>Later that afternoon, Chung hosts musician friends in the Jack London building’s spacious lounge, and one of her friends cooks the group an aromatic Indian feast. “It’s nice, sometimes I forget that all I have to do is make the effort to gather people,” she says. “Sometimes I do spend too much time alone, and I know you need to get out, especially if you want to meet musicians who might hire you.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hough Chung’s income is modest for this region (the median household income in Oakland is just over $63,000), she’s found ways to thrive. She rarely eats out, only splurging on organic, sustainable food occasionally. And she thrifts her clothes, like the stylish batik-print shift dress she’s wearing when we meet up. “I have more fun going thrift store shopping anyways,” she says.\u003c/p>\n\u003cp>And, a testament to her generous personality, she still finds time and money to help people without housing in her neighborhood, buying them food and making calls to help connect them to resources. She tells me about a gentleman she befriended recently who wants to get off the streets.\u003c/p>\n\u003cp>“Part of the time I feel like I’m running around acting like a social worker,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13865412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865412\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/KQED_The_Hustle_Citizens_Jazz_9_hires.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">About half of Caroline Chung’s income comes from massage therapy, though she spends considerably fewer hours on it per week than her music practice. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With no federal or state laws guaranteeing musicians a fair wage, Chung has faced challenges advocating for herself over the years. She tells me about a time a bar manager cancelled on her last minute—despite the fact that she invested time rehearsing, and turned down other opportunities to take that job. When Chung asked him to pay half of her rate for the last minute cancellation (a standard practice in many other industries that rely on contract workers, including journalism), the manager paid up but never booked her again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "",
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"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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