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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In February 2026, the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theater\">Castro Theatre\u003c/a> will reopen its doors after two years with a concert residency by British hitmaker Sam Smith, ushering in the 103-year-old movie palace’s new era as a concert and entertainment venue.\u003c/p>\n\u003cp>Smith, who was recently spotted filming a music video in San Francisco’s historic gayborhood, posted a TikTok video of themself under the Castro Theatre’s marquee with the words “coming soon.” Their residency, named after their new ballad, “To Be Free,” quickly sold out the first 12 concert dates between Feb. 10 and 28. Another four shows on March 3, 4, 6 and 7 were announced on Oct. 9, and yet \u003cem>another\u003c/em> four shows on March 10, 11 13 and 14 were announced on Oct. 13. \u003ca href=\"https://www.ticketmaster.com/sam-smith-tickets/artist/1785301?camefrom=CFC_ANOTHERPLANET_PR&brand=anotherplanet&venueId=229558\">Tickets are available here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xSJy3LvWGkw'\n title='//www.youtube.com/embed/xSJy3LvWGkw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another Planet Entertainment, the production company that books Outside Lands and prominent venues such as Bill Graham Civic Auditorium, took over the Castro Theatre in 2022. The move sparked \u003ca href=\"https://www.kqed.org/forum/2010101890364/fans-of-san-franciscos-beloved-castro-theater-balk-at-proposed-changes\">backlash from some movie enthusiasts\u003c/a>, who objected to Another Planet deemphasizing film programming, removing the orchestra seats and flattening the raked auditorium.\u003c/p>\n\u003cp>Meanwhile, Another Planet has maintained that film will remain part of the Castro Theatre’s offerings, alongside concerts, talks, comedy shows and other events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When it came time to plan his 57-stop world tour this year, \u003ca href=\"https://www.kqed.org/arts/13953317/live-review-bad-bunny-gets-in-his-feels-at-san-franciscos-chase-center\">Bad Bunny\u003c/a> chose to skip the U.S. entirely — except the Bay Area. The Puerto Rican star just announced that he’ll be performing at halftime during the \u003ca href=\"https://www.levisstadium.com/event/super-bowl-lx/\">Super Bowl\u003c/a> on Feb. 8, 2026 at Levi’s Stadium in Santa Clara.\u003c/p>\n\u003cp>The announcement comes on the heels of successful summerlong residency on his island of Puerto Rico, which attracted over 600,000 visitors to San Juan and generated an estimated $200 million in tourism revenue. The intention to stay in Puerto Rico was a political one: Bad Bunny is a vocal supporter of the U.S. territory’s independence movement, and his massive 2025 album \u003ci>Debí Tirar Más Fotos\u003c/i> blended traditional genres like bomba, plena and salsa with reggaeton beats and lyrics that called out modern-day colonialism.\u003c/p>\n\u003cp>https://youtu.be/gLSzEYVDads?si=_qwQTwCF3chTYqsE\u003c/p>\n\u003cp>In an \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">interview with \u003cem>i-D\u003c/em>\u003c/a>, Bad Bunny recently revealed that he skipped the States partly out of fear that immigration enforcement could target his largely Latino fanbase. “There was the issue of — like, fucking ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about,” he told reporter Suzy Exposito.\u003c/p>\n\u003cp>Bad Bunny’s \u003ca href=\"https://depuertoricopalmundo.com/\">world tour\u003c/a>, which kicks off in November, is in high demand, with multiple dates per city in Latin American cultural capitals. There are 12 concerts in Mexico City alone, plus shows in Japan and Europe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>U.S. fans who can’t travel to see Bad Bunny recently got a taste of his San Juan residency with a livestreamed finale on Amazon called “\u003ca href=\"https://music.amazon.com/live/events/L0ZYE8MCOT\">No me quiero ir de aquí\u003c/a>” (“I don’t want to leave here”). Performing with a live salsa band and an Afro-Puerto Rican percussion ensemble, Bad Bunny brought out guests like salsa legend Marc Anthony and reggaetoneros De La Ghetto and Jowell & Randy during a four-hour, heartfelt performance brimming with pride. Fans in the audience were visibly moved to tears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Announcing his Super Bowl performance, Bad Bunny said in a statement, “This is for my people, my culture and our history.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came time to plan his 57-stop world tour this year, \u003ca href=\"https://www.kqed.org/arts/13953317/live-review-bad-bunny-gets-in-his-feels-at-san-franciscos-chase-center\">Bad Bunny\u003c/a> chose to skip the U.S. entirely — except the Bay Area. The Puerto Rican star just announced that he’ll be performing at halftime during the \u003ca href=\"https://www.levisstadium.com/event/super-bowl-lx/\">Super Bowl\u003c/a> on Feb. 8, 2026 at Levi’s Stadium in Santa Clara.\u003c/p>\n\u003cp>The announcement comes on the heels of successful summerlong residency on his island of Puerto Rico, which attracted over 600,000 visitors to San Juan and generated an estimated $200 million in tourism revenue. The intention to stay in Puerto Rico was a political one: Bad Bunny is a vocal supporter of the U.S. territory’s independence movement, and his massive 2025 album \u003ci>Debí Tirar Más Fotos\u003c/i> blended traditional genres like bomba, plena and salsa with reggaeton beats and lyrics that called out modern-day colonialism.\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/gLSzEYVDads'\n title='//www.youtube.com/embed/gLSzEYVDads'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an \u003ca href=\"https://i-d.co/article/bad-bunny-puerto-rico-residency-issue-375-cover/\">interview with \u003cem>i-D\u003c/em>\u003c/a>, Bad Bunny recently revealed that he skipped the States partly out of fear that immigration enforcement could target his largely Latino fanbase. “There was the issue of — like, fucking ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about,” he told reporter Suzy Exposito.\u003c/p>\n\u003cp>Bad Bunny’s \u003ca href=\"https://depuertoricopalmundo.com/\">world tour\u003c/a>, which kicks off in November, is in high demand, with multiple dates per city in Latin American cultural capitals. There are 12 concerts in Mexico City alone, plus shows in Japan and Europe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1949, the artists Clay Spohn and Mark Rothko threw a “costume carnival” with a provocative theme: “\u003ca href=\"https://www.sfartistsalumni.org/jeff-gunderson-s-email-archive-details/sfai-the-unknown/r/rec7n8RaNFaXlIj23\">The Unknown\u003c/a>.” Over 1,600 revelers in weird, surrealist outfits flocked to dance the night away at the San Francisco Art Institute, buzzing with hope and possibility of a new, futuristic vision for the 1950s.\u003c/p>\n\u003cp>In the same playful spirit, the San Francisco Museum of Modern Art is hosting an art party called \u003ca href=\"https://www.sfmoma.org/event/smartbomb-waves-of-knowing/\">Waves of Knowing\u003c/a>, curated by the experimental Oakland artist collective \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a>. On Thursday, Oct. 2, when SFMOMA is free to Bay Area residents from 4–8 p.m., Smartbomb takes over multiple floors of the museum with music, poetry, film screenings, free screen printing and more.\u003c/p>\n\u003cp>Since its inception over a decade ago, Smartbomb has grown from curating underground shows to collaborating with major Bay Area institutions such as SFJAZZ and SFMOMA. Rooted in the Bay Area’s hip-hop and jazz scenes, yet constantly pushing the envelope on unorthodox collaborations, Smartbomb’s work is too amorphous to be bound by a single medium or genre.\u003c/p>\n\u003cp>Waves of Knowing is a prime example. On the fourth floor of SFMOMA, a program called Vibration Is an Invitation features a video performance from \u003ca href=\"https://macrowaves.xyz/\">Macro Waves\u003c/a>, whose dreamy projections and other high-tech work centers on social justice. Sarah O’Neal (who occasionally contributes to KQED Arts) will read anti-imperialist poetry; shapeshifting singer and producer \u003ca href=\"https://idhaz.bandcamp.com/\">IDHAZ\u003c/a> will perform live with violinist Emily Bouton; and improvisational jazz band \u003ca href=\"https://agnesmartian.bandcamp.com/\">Agnes Martian\u003c/a> will create glittering synth-driven soundscapes.\u003c/p>\n\u003cp>In the Wattis Theater during another program called Every Point Tells a Story, composer \u003ca href=\"https://zacharyjameswatkins.com/\">Zachary James Watkins\u003c/a> will perform a live score to visuals by Melanie Marie, plus film screenings by Billie0cean, Andrew Kodama, Jules Retzlaff, Nick Derenzi and others. Muzae Sesay, a painter whose work has been featured in SFMOMA, will also celebrate the launch of a new jersey he designed for the Oakland Roots on the fifth floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like most things Smartbomb, museum-goers might enter Waves of Knowing unsure of what they’re going to get, but there’s a strong possibility that they will leave transformed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/event/smartbomb-waves-of-knowing/\">Waves of Knowing\u003c/a>, curated by Smartbomb, takes place at SFMOMA on Oct. 2, 2:30–9 p.m. The museum is free to Bay Area residents from 4–8 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1949, the artists Clay Spohn and Mark Rothko threw a “costume carnival” with a provocative theme: “\u003ca href=\"https://www.sfartistsalumni.org/jeff-gunderson-s-email-archive-details/sfai-the-unknown/r/rec7n8RaNFaXlIj23\">The Unknown\u003c/a>.” Over 1,600 revelers in weird, surrealist outfits flocked to dance the night away at the San Francisco Art Institute, buzzing with hope and possibility of a new, futuristic vision for the 1950s.\u003c/p>\n\u003cp>In the same playful spirit, the San Francisco Museum of Modern Art is hosting an art party called \u003ca href=\"https://www.sfmoma.org/event/smartbomb-waves-of-knowing/\">Waves of Knowing\u003c/a>, curated by the experimental Oakland artist collective \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a>. On Thursday, Oct. 2, when SFMOMA is free to Bay Area residents from 4–8 p.m., Smartbomb takes over multiple floors of the museum with music, poetry, film screenings, free screen printing and more.\u003c/p>\n\u003cp>Since its inception over a decade ago, Smartbomb has grown from curating underground shows to collaborating with major Bay Area institutions such as SFJAZZ and SFMOMA. Rooted in the Bay Area’s hip-hop and jazz scenes, yet constantly pushing the envelope on unorthodox collaborations, Smartbomb’s work is too amorphous to be bound by a single medium or genre.\u003c/p>\n\u003cp>Waves of Knowing is a prime example. On the fourth floor of SFMOMA, a program called Vibration Is an Invitation features a video performance from \u003ca href=\"https://macrowaves.xyz/\">Macro Waves\u003c/a>, whose dreamy projections and other high-tech work centers on social justice. Sarah O’Neal (who occasionally contributes to KQED Arts) will read anti-imperialist poetry; shapeshifting singer and producer \u003ca href=\"https://idhaz.bandcamp.com/\">IDHAZ\u003c/a> will perform live with violinist Emily Bouton; and improvisational jazz band \u003ca href=\"https://agnesmartian.bandcamp.com/\">Agnes Martian\u003c/a> will create glittering synth-driven soundscapes.\u003c/p>\n\u003cp>In the Wattis Theater during another program called Every Point Tells a Story, composer \u003ca href=\"https://zacharyjameswatkins.com/\">Zachary James Watkins\u003c/a> will perform a live score to visuals by Melanie Marie, plus film screenings by Billie0cean, Andrew Kodama, Jules Retzlaff, Nick Derenzi and others. Muzae Sesay, a painter whose work has been featured in SFMOMA, will also celebrate the launch of a new jersey he designed for the Oakland Roots on the fifth floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like most things Smartbomb, museum-goers might enter Waves of Knowing unsure of what they’re going to get, but there’s a strong possibility that they will leave transformed.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfmoma.org/event/smartbomb-waves-of-knowing/\">Waves of Knowing\u003c/a>, curated by Smartbomb, takes place at SFMOMA on Oct. 2, 2:30–9 p.m. The museum is free to Bay Area residents from 4–8 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13981784\" class=\"wp-caption aligncenter\" style=\"max-width: 1478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg\" alt=\"\" width=\"1478\" height=\"2115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg 1478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1073x1536.jpg 1073w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1431x2048.jpg 1431w\" sizes=\"auto, (max-width: 1478px) 100vw, 1478px\">\u003cfigcaption class=\"wp-caption-text\">Assata Shakur holds the manuscript of her autobiography with Old Havana, Cuba, in the background on October 7, 1987. \u003ccite>(Ozier Muhammad/Newsday RM via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Assata Shakur, a Black liberation activist who was given political asylum in Cuba after her 1979 escape from a U.S. prison where she had been serving a life sentence for killing a police officer, has died, her daughter and the Cuban government said.\u003c/p>\n\u003cp>Shakur, who was born Joanne Deborah Chesimard, died Thursday in the capital city of Havana due to “health conditions and advanced age,” Cuba’s Ministry of Foreign Affairs \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://cubaminrex.cu/es/nota-de-prensa-del-ministerio-relaciones-exteriores\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">said in a statement\u003c/a>\u003c/span>. Shakur’s daughter, Kakuya Shakur, also confirmed her mother’s death in a Facebook post.\u003c/p>\n\u003cp>Born in Queens, New York in 1947, Shakur briefly relocated to Oakland as a young woman in the late 1960s, where she became a member of the Black Panther Party. After returning to the East Coast, Shakur served in the Black Panthers’ New York City chapter, where she met Afeni Shakur, whose son Tupac would go on to become a global icon in rap music and politics. Assata Shakur became Tupac’s godmother and step-aunt when Afeni married Assata’s brother, Mutulu.\u003c/p>\n\u003cfigure id=\"attachment_13981781\" class=\"wp-caption aligncenter\" style=\"max-width: 1823px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg\" alt=\"\" width=\"1823\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg 1823w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-768x1078.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1094x1536.jpg 1094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1459x2048.jpg 1459w\" sizes=\"auto, (max-width: 1823px) 100vw, 1823px\">\u003cfigcaption class=\"wp-caption-text\">New Brunswick, N.J.: Assata Shakur, a.k.a. Joanna Chesimard, arrives at Middlesex County jail after her transfer from New York City for her trail involving the killing of a New Jersey State trooper. \u003ccite>(Bettman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur’s case had long been a thorny issue in the fraught relations between the U.S. and Cuba. American authorities, including President Donald Trump during \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/general-news-b182fefc30a04b2d8de3956b92eb1a9a\" data-gtm-enhancement-style=\"LinkEnhancementA\">his first term in office\u003c/a>\u003c/span>, had demanded her return from the communist nation for decades.\u003c/p>\n\u003cp>In her telling, and in the minds of her supporters, she was being pursued for crimes she didn’t commit, or which were justified. The FBI put Shakur on its list of “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.fbi.gov/wanted/wanted_terrorists/joanne-deborah-chesimard/download.pdf\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">most wanted terrorists\u003c/a>\u003c/span>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A member of the Black Liberation Army, Shakur and two others were involved in a gunfight with New Jersey State Police Troopers following a highway traffic stop on May 2, 1973.\u003c/p>\n\u003cp>Trooper Werner Foerster was killed and another officer was wounded, while one of Shakur’s companions was also killed.\u003c/p>\n\u003cp>Shakur, who was at the time wanted on several felonies, including bank robbery, fled but was eventually apprehended. She maintained in her \u003ca href=\"https://hoodcommunist.org/2024/03/07/an-open-letter-from-assata-shakur/\" target=\"_blank\" rel=\"noopener\">writings from Cuba over the years\u003c/a> that she didn’t shoot anyone and had her hands in the air when she was wounded during the gunfire.\u003c/p>\n\u003cp>Shakur was found guilty of murder, armed robbery and other crimes in 1977 and was sentenced to life in prison, only to escape in November 1979.\u003c/p>\n\u003cp>Members of the Black Liberation Army, posing as visitors, stormed the Clinton Correctional Facility for women, took two guards hostage and commandeered a prison van to break Shakur out.\u003c/p>\n\u003cp>She disappeared before eventually emerging in 1984 in Cuba, where Fidel Castro granted her asylum, according to the FBI. A companion who was also convicted in Foerster’s killing, Sundiata Acoli, was \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/article/cuba-crime-new-jersey-fidel-castro-supreme-court-c6dc08d755f73e24ebd229f07adfa7f4\" data-gtm-enhancement-style=\"LinkEnhancementA\">granted parole\u003c/a>\u003c/span> in 2022. His attorneys had argued the then-octogenarian had been a model prisoner for nearly three decades and counseled other inmates.\u003c/p>\n\u003cp>Shakur’s autobiography, \u003cem>Assata\u003c/em>, has remained an influential text for activists and artists in the Bay Area and beyond since its publication in 1987.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nastia Voynovskaya contributed reporting.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981784\" class=\"wp-caption aligncenter\" style=\"max-width: 1478px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981784\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg\" alt=\"\" width=\"1478\" height=\"2115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210.jpg 1478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1073x1536.jpg 1073w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-1066615210-1431x2048.jpg 1431w\" sizes=\"auto, (max-width: 1478px) 100vw, 1478px\">\u003cfigcaption class=\"wp-caption-text\">Assata Shakur holds the manuscript of her autobiography with Old Havana, Cuba, in the background on October 7, 1987. \u003ccite>(Ozier Muhammad/Newsday RM via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Assata Shakur, a Black liberation activist who was given political asylum in Cuba after her 1979 escape from a U.S. prison where she had been serving a life sentence for killing a police officer, has died, her daughter and the Cuban government said.\u003c/p>\n\u003cp>Shakur, who was born Joanne Deborah Chesimard, died Thursday in the capital city of Havana due to “health conditions and advanced age,” Cuba’s Ministry of Foreign Affairs \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://cubaminrex.cu/es/nota-de-prensa-del-ministerio-relaciones-exteriores\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">said in a statement\u003c/a>\u003c/span>. Shakur’s daughter, Kakuya Shakur, also confirmed her mother’s death in a Facebook post.\u003c/p>\n\u003cp>Born in Queens, New York in 1947, Shakur briefly relocated to Oakland as a young woman in the late 1960s, where she became a member of the Black Panther Party. After returning to the East Coast, Shakur served in the Black Panthers’ New York City chapter, where she met Afeni Shakur, whose son Tupac would go on to become a global icon in rap music and politics. Assata Shakur became Tupac’s godmother and step-aunt when Afeni married Assata’s brother, Mutulu.\u003c/p>\n\u003cfigure id=\"attachment_13981781\" class=\"wp-caption aligncenter\" style=\"max-width: 1823px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981781\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg\" alt=\"\" width=\"1823\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-scaled.jpg 1823w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-768x1078.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1094x1536.jpg 1094w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/GettyImages-515114572-1459x2048.jpg 1459w\" sizes=\"auto, (max-width: 1823px) 100vw, 1823px\">\u003cfigcaption class=\"wp-caption-text\">New Brunswick, N.J.: Assata Shakur, a.k.a. Joanna Chesimard, arrives at Middlesex County jail after her transfer from New York City for her trail involving the killing of a New Jersey State trooper. \u003ccite>(Bettman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur’s case had long been a thorny issue in the fraught relations between the U.S. and Cuba. American authorities, including President Donald Trump during \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/general-news-b182fefc30a04b2d8de3956b92eb1a9a\" data-gtm-enhancement-style=\"LinkEnhancementA\">his first term in office\u003c/a>\u003c/span>, had demanded her return from the communist nation for decades.\u003c/p>\n\u003cp>In her telling, and in the minds of her supporters, she was being pursued for crimes she didn’t commit, or which were justified. The FBI put Shakur on its list of “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.fbi.gov/wanted/wanted_terrorists/joanne-deborah-chesimard/download.pdf\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">most wanted terrorists\u003c/a>\u003c/span>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A member of the Black Liberation Army, Shakur and two others were involved in a gunfight with New Jersey State Police Troopers following a highway traffic stop on May 2, 1973.\u003c/p>\n\u003cp>Trooper Werner Foerster was killed and another officer was wounded, while one of Shakur’s companions was also killed.\u003c/p>\n\u003cp>Shakur, who was at the time wanted on several felonies, including bank robbery, fled but was eventually apprehended. She maintained in her \u003ca href=\"https://hoodcommunist.org/2024/03/07/an-open-letter-from-assata-shakur/\" target=\"_blank\" rel=\"noopener\">writings from Cuba over the years\u003c/a> that she didn’t shoot anyone and had her hands in the air when she was wounded during the gunfire.\u003c/p>\n\u003cp>Shakur was found guilty of murder, armed robbery and other crimes in 1977 and was sentenced to life in prison, only to escape in November 1979.\u003c/p>\n\u003cp>Members of the Black Liberation Army, posing as visitors, stormed the Clinton Correctional Facility for women, took two guards hostage and commandeered a prison van to break Shakur out.\u003c/p>\n\u003cp>She disappeared before eventually emerging in 1984 in Cuba, where Fidel Castro granted her asylum, according to the FBI. A companion who was also convicted in Foerster’s killing, Sundiata Acoli, was \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/article/cuba-crime-new-jersey-fidel-castro-supreme-court-c6dc08d755f73e24ebd229f07adfa7f4\" data-gtm-enhancement-style=\"LinkEnhancementA\">granted parole\u003c/a>\u003c/span> in 2022. His attorneys had argued the then-octogenarian had been a model prisoner for nearly three decades and counseled other inmates.\u003c/p>\n\u003cp>Shakur’s autobiography, \u003cem>Assata\u003c/em>, has remained an influential text for activists and artists in the Bay Area and beyond since its publication in 1987.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nastia Voynovskaya contributed reporting.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Oakland-based \u003ca href=\"https://www.kqed.org/arts/tag/peoples-kitchen-collective\">People’s Kitchen Collective\u003c/a> wants to spread a concept they call “radical hospitality,” which asks people to imagine new ways of taking care of one another and living reciprocally with the land. One way they’re fostering this concept is the \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which arrives at West Oakland’s DeFremery Park (a.k.a. Lil Bobby Hutton Park) on Saturday, Oct. 11.\u003c/p>\n\u003cp>Now in its 18th year, the free community event fills the park with family-friendly activities, performances and a free breakfast program inspired by the Black Panthers. As a show of solidarity with oppressed people worldwide, this year’s menu will feature cuisines from Palestine, Haiti and Congo. [aside postid='arts_13979158']\u003c/p>\n\u003cp>Hosting the main stage is \u003ca href=\"https://www.instagram.com/msryannicole/?hl=en\">RyanNicole\u003c/a>, a rapper and poet who co-wrote and co-starred in the recent hip-hop musical \u003ca href=\"https://www.kqed.org/arts/13977677/co-founders-act-hip-hop-musical-west-oakland-silicon-valley\">\u003ci>Co-Founders\u003c/i>\u003c/a> at American Conservatory Theater. Performers include \u003ca href=\"https://www.instagram.com/isntshelovey/?hl=en\">Lovey\u003c/a>, an up-and-coming rapper with a soulful voice and out-there imagination (Lovey recently competed in a Bay Area music showcase produced by KQED and LaRussell’s Good Compenny collective). \u003ca href=\"https://www.audiopharmacy.com/\">AudioPharmacy\u003c/a>, a band blending hip-hop and Indigenous rhythms, and powerhouse vocalist \u003ca href=\"https://jennjohns.com/music\">Jenn Johns\u003c/a> are also on the bill, along with the West Oakland Middle School band, indie rock band Lil Shlurp Shlurp and experimental duo Twisted Universe. [aside postid='arts_13971043']\u003c/p>\n\u003cp>The nonmusical activities at Life Is Living include wellness offerings from \u003ca href=\"https://www.kqed.org/arts/13971043/freedom-community-clinic-fruitvale-oakland-farm-orinda\">Freedom Community Clinic\u003c/a>, an Oakland collective that offers free services like herbal medicine, reiki, massage and acupuncture. There’ll be a “wheels zone” for the skaters and cyclists; activities for kids; a community arts zone; an artist vendor marketplace; a Black Panther Party zone and historical exhibits on Oakland’s activist history.\u003c/p>\n\u003cp>The event’s location at DeFremery Park is no coincidence; many in the community know it as Lil Bobby Hutton Park, named for \u003ca href=\"https://www.instagram.com/p/C4OlOKPNRGr/\">the teenage Black Panther Party member who was killed by police in 1968\u003c/a>. For People’s Kitchen Collective and Life Is Living co-producers Joan Osato and YaVette Holt, the Black Panther Party’s survival programs are a guiding light as they use art and culture to get neighbors together, strengthen relationships and inspire a culture of collective care.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.brownpapertickets.com/event/6713976\">Life Is Living\u003c/a> takes place on Saturday, Oct. 11, from 11 a.m.–4 p.m. at DeFremery/Lil Bobby Hutton Park in Oakland.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland-based \u003ca href=\"https://www.kqed.org/arts/tag/peoples-kitchen-collective\">People’s Kitchen Collective\u003c/a> wants to spread a concept they call “radical hospitality,” which asks people to imagine new ways of taking care of one another and living reciprocally with the land. One way they’re fostering this concept is the \u003ca href=\"https://lifeisliving.org/\">Life Is Living Festival\u003c/a>, which arrives at West Oakland’s DeFremery Park (a.k.a. Lil Bobby Hutton Park) on Saturday, Oct. 11.\u003c/p>\n\u003cp>Now in its 18th year, the free community event fills the park with family-friendly activities, performances and a free breakfast program inspired by the Black Panthers. As a show of solidarity with oppressed people worldwide, this year’s menu will feature cuisines from Palestine, Haiti and Congo. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hosting the main stage is \u003ca href=\"https://www.instagram.com/msryannicole/?hl=en\">RyanNicole\u003c/a>, a rapper and poet who co-wrote and co-starred in the recent hip-hop musical \u003ca href=\"https://www.kqed.org/arts/13977677/co-founders-act-hip-hop-musical-west-oakland-silicon-valley\">\u003ci>Co-Founders\u003c/i>\u003c/a> at American Conservatory Theater. Performers include \u003ca href=\"https://www.instagram.com/isntshelovey/?hl=en\">Lovey\u003c/a>, an up-and-coming rapper with a soulful voice and out-there imagination (Lovey recently competed in a Bay Area music showcase produced by KQED and LaRussell’s Good Compenny collective). \u003ca href=\"https://www.audiopharmacy.com/\">AudioPharmacy\u003c/a>, a band blending hip-hop and Indigenous rhythms, and powerhouse vocalist \u003ca href=\"https://jennjohns.com/music\">Jenn Johns\u003c/a> are also on the bill, along with the West Oakland Middle School band, indie rock band Lil Shlurp Shlurp and experimental duo Twisted Universe. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The nonmusical activities at Life Is Living include wellness offerings from \u003ca href=\"https://www.kqed.org/arts/13971043/freedom-community-clinic-fruitvale-oakland-farm-orinda\">Freedom Community Clinic\u003c/a>, an Oakland collective that offers free services like herbal medicine, reiki, massage and acupuncture. There’ll be a “wheels zone” for the skaters and cyclists; activities for kids; a community arts zone; an artist vendor marketplace; a Black Panther Party zone and historical exhibits on Oakland’s activist history.\u003c/p>\n\u003cp>The event’s location at DeFremery Park is no coincidence; many in the community know it as Lil Bobby Hutton Park, named for \u003ca href=\"https://www.instagram.com/p/C4OlOKPNRGr/\">the teenage Black Panther Party member who was killed by police in 1968\u003c/a>. For People’s Kitchen Collective and Life Is Living co-producers Joan Osato and YaVette Holt, the Black Panther Party’s survival programs are a guiding light as they use art and culture to get neighbors together, strengthen relationships and inspire a culture of collective care.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.brownpapertickets.com/event/6713976\">Life Is Living\u003c/a> takes place on Saturday, Oct. 11, from 11 a.m.–4 p.m. at DeFremery/Lil Bobby Hutton Park in Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "portola-festival-2025-pier-80-san-francisco-review-photos",
"title": "Portola Festival Turned Pier 80 Into ‘San Frandisco’",
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"content": "\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Sets from Dom Dolla, Peggy Gou and Christina Aguilera charged up a high-energy crowd of ravers and dancers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the sky darkened over Pier 80 on Sunday night, the crowd at \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola\u003c/a>’s main stage swelled into what looked like an endless sea of people. Bodies bounced in unison as Australian tech-house producer Dom Dolla took the stage, thousands of hands reaching skyward as the elastic beat of “San Frandisco” surged.\u003c/p>\n\u003cp>The crowd chanted along: “San Francisco, where’s your disco?” And it felt like a rallying cry, charging up the already electric atmosphere. For a moment, the city had its answer: The disco was right here, on the pier, under the cranes and fog.\u003c/p>\n\u003cfigure id=\"attachment_13981575\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981575\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-42-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crowds enter the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pier 80 hosted San Francisco’s Portola Festival for its fourth year — and it was its sunniest weekend yet. Early arrivals trickled between stages Saturday afternoon, testing the waters of the eclectic lineup. Pop duo Magdalena Bay lit up the main stage with their shimmering, surrealist pop, with dreamy synths bouncing off the industrial cranes and shipping containers of Pier 80.\u003c/p>\n\u003cp>Meanwhile, strongly anticipated performances from Kettama and Yousuke Yukimatsu were somewhat hampered by the Warehouse’s acoustic challenges. With paper-thin metal walls and a long, cavernous layout, sound reflected unpredictably, leaving spots where bass and mids struggled to reach the crowd clearly. By the time Anti Up took the stage, however, the audio had noticeably improved, filling the space with much greater clarity.\u003c/p>\n\u003cfigure id=\"attachment_13981563\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981563\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-7-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Festivalgoers dance inside the Despacio Tent during the first day of Portola Festival at Pier 80 in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The line for Despacio, an immersive dance experience, barely budged all weekend. And with good reason: once inside, the all-vinyl sound system filled the room with deep, textured grooves, and the spinning disco balls and subtle lighting made it easy to lose track of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival’s designated throwback artist, Christina Aguilera, lit up the main stage with classic pop star showmanship. Dressed in silver sparkles and rhinestones and flanked by dancers, she delivered “Fighter” amid red smoke and hair-whipping choreography. “Genie in a Bottle” followed with a blue aura and bursts of fire as the sun set over Pier 80.\u003c/p>\n\u003cfigure id=\"attachment_13981617\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981617\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-33_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christina Aguilera performs on the Pier Stage at Portola Festival in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of Saturday’s final sets came from Mau P, who delivered a more restrained performance compared to his high-energy Coachella and EDC sets earlier this year. He played full songs with minimal mixing, and the set opened with a softer intro sampling “Like I Like It,” which contrasted with the intense build-ups and technical flare fans might have expected. Still, despite the gentler approach, the set still offered an upbeat, satisfying close to the night.\u003c/p>\n\u003cp>By Sunday, the momentum from Saturday not only carried over but continued building, with the crowd returning to Pier 80 buzzing with even more excitement for the festival’s final day.\u003c/p>\n\u003cfigure id=\"attachment_13981616\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-12_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Magdalena Bay performs on the Pier Stage during the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own Kreayshawn took the main stage Sunday afternoon with a rapidfire set of throwbacks, joined by two performers in Hello Kitty costumes. She powered through fan favorites like “Gucci Gucci,” “Twerkin!!!” and “Kitty,” channeling the charismatic chaos and catchy vibe that defined the early-2010s internet rap era.\u003c/p>\n\u003cp>During a poignant moment between lyrics, Kreayshawn shouted “Free Palestine” without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13981596\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20011_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-born rapper Kreayshawn performs on the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came Rico Nasty, who turned late-afternoon sunlight into her spotlight. Charging through cult classics “Tia Tamera” and “Smack a Bitch,” the Crane Stage crowd ricocheted into one another with combustible energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Portola loves a good afterparty. After Dom Dolla’s Sunday night performance, many headed over to the already packed Warehouse to catch the real finale: the final hour of Peggy Gou’s set. Strobes slicing through the dark, beats relentless and hypnotic, the crowd kept going as if Monday morning didn’t exist. It was the perfect exclamation mark to a wired weekend.\u003c/p>\n\u003ch2>More photos from Portola\u003c/h2>\n\u003cfigure id=\"attachment_13981615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-2_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd gathers at the Crane Stage for German rapper Ski Aggu on the first day of Portola Festival at Pier 80 in San Francisco, Saturday, Sept. 20, 2025.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981600\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20035_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou headlines the Warehouse as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981605\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer forms a heart with their hands in the crowd at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981604\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY2_GH-1-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles float through the air inside the Warehouse on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981603\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20050_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Prodigy closes out Portola Festival with a set on the Crane Stage in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981599\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981599\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20033_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz, center, dance near the Crane Stage as the second day of Portola Festival comes to a close in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981598\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20032_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Blood Orange performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20026_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty performs on the Crane Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981595\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20010_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Sandquist, also known as the “Festival Fairy,” hands out supplies to attendees on the second day of Portola Festival in San Francisco on Sept. 21, 2025. charity. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20008_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Williams wears spike studded sunglasses in the crowd at the Pier Stage on the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981593\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981593\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250921_PORTOLA_DAY_20006_GH-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dowe, left, and Matt Lebowitz stop at the Pier Stage during the second day of Portola Festival in San Francisco on Sept. 21, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981577\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981577\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_Portola_day1_GH-22_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sutro Tower is visible from the Ship Tent as the sun sets on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981573\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981573\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-38-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem headlines the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981572\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981572\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-36-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Dare performs in the Ship Tent on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981570\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981570\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With the sun beating down throughout the day, attendees wore light clothing to keep cool at Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981568\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-20-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A festivalgoer holds out a flower inside the Warehouse on the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981567\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981567\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-19-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Eric Quiero, Jasmine Guevara and Tyrone Celosa, all excited to see Christina Aguilera perform, pose for a photo during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13981566\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981566\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250920_PORTOLA_DAY1_GH-18-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yousuke Yukimatsu performs inside the Warehouse during the first day of Portola Festival in San Francisco on Sept. 20, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "db-boutabag-real-boutabag-ii-2-sacramento-rapper",
"title": "DB.Boutabag Is More Than Just Sacramento’s Best Smack Talker",
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"headTitle": "DB.Boutabag Is More Than Just Sacramento’s Best Smack Talker | KQED",
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"content": "\u003cfigure id=\"attachment_13981493\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag, 25, a rapper from Sacramento, Calif., poses for a portrait in Berkeley, Calif., on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to roasting rivals, \u003ca href=\"https://www.instagram.com/db.boutabag/\">DB.Boutabag\u003c/a> wears his reputation as a badge of honor.\u003c/p>\n\u003cp>Just look at his jewelry. When we meet for our interview at a Berkeley rooftop bar on a recent afternoon, the Sacramento \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">rapper\u003c/a> rolls up wearing a half dozen chains with heavy, gem-encrusted pendants. One features a 3D, cartoon version of himself perched on a toilet, an homage to one of his best-known bars: “I’m not rappin’ / I just shit talk.”\u003c/p>\n\u003cp>[aside postID='arts_13920746']Fans have yelled that line back to DB at sold-out clubs from his hometown of Sacramento to Reno to Phoenix. Now the 25-year-old lyricist wants to prove that he can do more than casually eviscerate opponents over thunderclaps of bass.\u003c/p>\n\u003cp>The cover of DB’s latest album, \u003cem>The \u003c/em>\u003ci>Real Boutabag II\u003c/i>, independently released in July, features him holding his infant son. Between offhanded flexes about sexual conquests and fast cars, he lets listeners into the vulnerabilities that come with young fatherhood — both the pride and the pressure.\u003c/p>\n\u003cp>https://youtu.be/xSiu3k-Rd68?si=qJODSiUVOv2_eQNE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On “Slight Vent PT3,” a standout track with a melancholy saxophone sample, DB raps about grappling with the career and personal sacrifices he must accept in order to be a good dad. “That shit hurt / When you gotta kill your ego,” he admits on the beat.\u003c/p>\n\u003cp>“I had to … put a lot of things to the side so I could make sure I’m in [my son’s] life and I could pour into him, you feel me,” he reflects when we talk, “and [so] I can receive the blessing that God gave me.”\u003c/p>\n\u003cp>An active Twitch streamer, DB’s social media savvy has propelled his career from the beginning. He started getting traction during pandemic shutdowns, when he’d regularly join Instagram Live freestyle sessions from \u003ca href=\"https://www.instagram.com/thethizzler/?hl=en\">Thizzler\u003c/a>, the Northern California rap platform. That eventually led to a distribution deal with Thizzler and regional hits like “Fettuccine.” At Thizzler, DB connected with his now-manager Russell North, who also works with rising Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13904319/rightnowish-capolow\">Capolow\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/OcK67UqNufg?si=pJBQYPMQIWfu5kv1\u003c/p>\n\u003cp>When North heard DB’s searing 2021 diss track “1st Off,” he knew DB had something special. “Your head’s bobbing, you wanna fucking go 100 miles per hour on the freeway,” North says. “It was just this crazy energy. … I’m like, ‘Bro, every DJ I know needs this record.’”\u003c/p>\n\u003cp>In the years since, DB has stayed consistent with releases, worked with the Sacramento Kings and collaborated with some of his heroes, including underground rap giants 03 Greedo and the late Drakeo the Ruler. Drakeo, whose one-of-a-kind flow evoked haunted whispers from the underworld, invited DB to his city to film a music video for their song together, “\u003ca href=\"https://youtu.be/r3TZTr5ER4E?si=j-PUqwH-nN-fCMMf\">Top Rapper\u003c/a>.”\u003c/p>\n\u003cp>“We rented a blue Lamborghini, fuckin’ had hella whips,” DB remembers. “It was a crazy ass experience. That was the best night of my life.”\u003c/p>\n\u003cp>https://youtu.be/r3TZTr5ER4E?si=j-PUqwH-nN-fCMMf\u003c/p>\n\u003cp>Yet amid the Instagram-worthy moments, DB has always made space in his music to be real. He started sharing more of his obstacles and anxieties in 2020 with the release of “\u003ca href=\"https://www.youtube.com/watch?v=uw9jd09cans\">Slight Vent\u003c/a>,” where he airs out money stress and trust issues. He almost didn’t put it out. He thought people would call him soft. But the risk paid off. “I got a whole new fan base off of that,” he says. “Like, a chakra opened.”\u003c/p>\n\u003cp>A former high school hooper with dreams of playing in college, DB.Boutabag has the work ethic to turn his viral moments into something lasting. He learned discipline both through athletics and his mom, who raised him as a single parent in South Sacramento, and who instilled a belief in self that motivates him to this day.\u003c/p>\n\u003cfigure id=\"attachment_13979586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag (center) with his childhood friends, Tommy Almanza (left) and Kamari Woodie (right), in Berkeley on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She used to tell me, like, people stereotype us because of our hair, our color, our dreads … and how we present ourselves from our culture,” he says. “And she always just told me, like, you could still be a winner, a businessman with a briefcase, whatever you want to be. You could be the motherfucking president wearing your gold grill.”\u003c/p>\n\u003cp>DB wants to be that positive role model for his own son. I ask him if there’s anything he wants to give his child that he himself didn’t have growing up.\u003c/p>\n\u003cp>DB wastes no time answering. “Everything, bruh. He not gon’ realize it ’cause he gon’ have it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/daboii-dbboutabag-tickets-1607430541019\">DB.Boutabag co-headlines the Phoenix Theater\u003c/a> in Petaluma with DaBoii on Saturday, Oct. 18.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981493\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag, 25, a rapper from Sacramento, Calif., poses for a portrait in Berkeley, Calif., on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to roasting rivals, \u003ca href=\"https://www.instagram.com/db.boutabag/\">DB.Boutabag\u003c/a> wears his reputation as a badge of honor.\u003c/p>\n\u003cp>Just look at his jewelry. When we meet for our interview at a Berkeley rooftop bar on a recent afternoon, the Sacramento \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">rapper\u003c/a> rolls up wearing a half dozen chains with heavy, gem-encrusted pendants. One features a 3D, cartoon version of himself perched on a toilet, an homage to one of his best-known bars: “I’m not rappin’ / I just shit talk.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fans have yelled that line back to DB at sold-out clubs from his hometown of Sacramento to Reno to Phoenix. Now the 25-year-old lyricist wants to prove that he can do more than casually eviscerate opponents over thunderclaps of bass.\u003c/p>\n\u003cp>The cover of DB’s latest album, \u003cem>The \u003c/em>\u003ci>Real Boutabag II\u003c/i>, independently released in July, features him holding his infant son. Between offhanded flexes about sexual conquests and fast cars, he lets listeners into the vulnerabilities that come with young fatherhood — both the pride and the pressure.\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/xSiu3k-Rd68'\n title='//www.youtube.com/embed/xSiu3k-Rd68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On “Slight Vent PT3,” a standout track with a melancholy saxophone sample, DB raps about grappling with the career and personal sacrifices he must accept in order to be a good dad. “That shit hurt / When you gotta kill your ego,” he admits on the beat.\u003c/p>\n\u003cp>“I had to … put a lot of things to the side so I could make sure I’m in [my son’s] life and I could pour into him, you feel me,” he reflects when we talk, “and [so] I can receive the blessing that God gave me.”\u003c/p>\n\u003cp>An active Twitch streamer, DB’s social media savvy has propelled his career from the beginning. He started getting traction during pandemic shutdowns, when he’d regularly join Instagram Live freestyle sessions from \u003ca href=\"https://www.instagram.com/thethizzler/?hl=en\">Thizzler\u003c/a>, the Northern California rap platform. That eventually led to a distribution deal with Thizzler and regional hits like “Fettuccine.” At Thizzler, DB connected with his now-manager Russell North, who also works with rising Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13904319/rightnowish-capolow\">Capolow\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OcK67UqNufg'\n title='//www.youtube.com/embed/OcK67UqNufg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When North heard DB’s searing 2021 diss track “1st Off,” he knew DB had something special. “Your head’s bobbing, you wanna fucking go 100 miles per hour on the freeway,” North says. “It was just this crazy energy. … I’m like, ‘Bro, every DJ I know needs this record.’”\u003c/p>\n\u003cp>In the years since, DB has stayed consistent with releases, worked with the Sacramento Kings and collaborated with some of his heroes, including underground rap giants 03 Greedo and the late Drakeo the Ruler. Drakeo, whose one-of-a-kind flow evoked haunted whispers from the underworld, invited DB to his city to film a music video for their song together, “\u003ca href=\"https://youtu.be/r3TZTr5ER4E?si=j-PUqwH-nN-fCMMf\">Top Rapper\u003c/a>.”\u003c/p>\n\u003cp>“We rented a blue Lamborghini, fuckin’ had hella whips,” DB remembers. “It was a crazy ass experience. That was the best night of my life.”\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/r3TZTr5ER4E'\n title='//www.youtube.com/embed/r3TZTr5ER4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet amid the Instagram-worthy moments, DB has always made space in his music to be real. He started sharing more of his obstacles and anxieties in 2020 with the release of “\u003ca href=\"https://www.youtube.com/watch?v=uw9jd09cans\">Slight Vent\u003c/a>,” where he airs out money stress and trust issues. He almost didn’t put it out. He thought people would call him soft. But the risk paid off. “I got a whole new fan base off of that,” he says. “Like, a chakra opened.”\u003c/p>\n\u003cp>A former high school hooper with dreams of playing in college, DB.Boutabag has the work ethic to turn his viral moments into something lasting. He learned discipline both through athletics and his mom, who raised him as a single parent in South Sacramento, and who instilled a belief in self that motivates him to this day.\u003c/p>\n\u003cfigure id=\"attachment_13979586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag (center) with his childhood friends, Tommy Almanza (left) and Kamari Woodie (right), in Berkeley on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She used to tell me, like, people stereotype us because of our hair, our color, our dreads … and how we present ourselves from our culture,” he says. “And she always just told me, like, you could still be a winner, a businessman with a briefcase, whatever you want to be. You could be the motherfucking president wearing your gold grill.”\u003c/p>\n\u003cp>DB wants to be that positive role model for his own son. I ask him if there’s anything he wants to give his child that he himself didn’t have growing up.\u003c/p>\n\u003cp>DB wastes no time answering. “Everything, bruh. He not gon’ realize it ’cause he gon’ have it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/daboii-dbboutabag-tickets-1607430541019\">DB.Boutabag co-headlines the Phoenix Theater\u003c/a> in Petaluma with DaBoii on Saturday, Oct. 18.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "eastside-arts-alliance-greg-morozumi-elena-serrano-susanne-takehara-oakland",
"title": "Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead",
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"headTitle": "Oakland’s EastSide Arts Alliance Celebrates 25 Years — With Big Changes Ahead | KQED",
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"content": "\u003cfigure id=\"attachment_13981412\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg\" alt=\"A man sitting in front of a white board with writing on it.\" width=\"1144\" height=\"1754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-1002x1536.jpg 1002w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance cofounder Greg Morozumi, pictured planning the 2001 Malcolm X Jazz Festival. With Morozumi’s passing in June and two other cofounders stepping down, the EastSide Arts Alliance will be led by a collective. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/arts/21803/eastside_arts_alliance\">EastSide Arts Alliance\u003c/a> is a cultural hub where young artists are politicized, community members are fed and events like the \u003ca href=\"https://www.eastsideartsalliance.org/programs/malcolm-x-jazz-arts-festival\">Malcolm X Jazz Festival\u003c/a> are organized.\u003c/p>\n\u003cp>More than a traditional jazz fest, the event is a community resource where creatives, educators and entrepreneurs celebrate a variety of arts. It’s where 10 years ago \u003ca href=\"https://www.npr.org/2014/01/09/261101520/amiri-baraka-poet-and-co-founder-of-black-arts-movement-dies-at-79\">Amiri Baraka\u003c/a>, the father of the Black Arts Movement, was honored after he transitioned. It’s where \u003ca href=\"https://www.youtube.com/watch?v=wnJEz776THs\">a young Kehlani once performed\u003c/a> under the mentorship of the late \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>.\u003c/p>\n\u003cp>On Saturday, Sept. 20, EastSide Arts Alliance kicks off its 25th anniversary with \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a>, the first in a year-long series of events celebrating the center with art, food, history and community.\u003c/p>\n\u003cp>The afternoon \u003ca href=\"https://donorbox.org/eastside-arts-alliance-25th-anniversary-giving-campaign?fbclid=PAZXh0bgNhZW0CMTEAAac0m59hLWeTNQTBkUR8idP-wpemAX9EzvxbbXvgh94Tl1i_2IthyiqOrw6myA_aem_6dPCml5WDgEQa-mGuWqR0A\">fundraiser\u003c/a> and performance includes the talented \u003ca href=\"https://www.instagram.com/dnagadance/\">Dnaga Dance Company\u003c/a>, longtime EastSide Arts collaborator and \u003ca href=\"https://www.deepwatersdance.com/\">Deep Waters Dance Theatre\u003c/a> founder amara tabor-smith, violinist \u003ca href=\"https://www.illustrationhistory.org/artists/joan-tarika-lewis\">Tarika Lewis\u003c/a> — the first woman to join the Black Panther Party — and others.\u003c/p>\n\u003cfigure id=\"attachment_13981409\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg\" alt=\"A photo of a woman in a light blue shirt and a man in a black shirt, sun glasses and hat standing in a park. \" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Elena Serrano and Greg Morozumi, two of the co-founders behind EastSide Arts Alliance pictured at Malcolm X Jazz Festival at San Antonio Park. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event comes at a time of transition for for the community institution. \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">Greg Jung Morozumi\u003c/a>, EastSide Arts Alliance co-founder and mentor to many, \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">passed in June\u003c/a>. Elena Serrano and Susanne Takehara, the center’s two remaining founding members, will soon step down.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet even as the baton is passed to the next generation, Serrano says, the work isn’t going to stop.\u003c/p>\n\u003ch2>The birth of an community institution\u003c/h2>\n\u003cp>The seeds that grew into EastSide Arts Alliance were planted in the late 1990s, when four collectives came together. Aerosol writers \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\">Mike “Dream” Francisco\u003c/a> and the \u003ca href=\"https://dreamtdk.com/\">TDK\u003c/a> crew, \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a>’s C4 collective, the Black Dot’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Against-Gentrification-Marcel-Diallo-sees-a-2622101.php\">Marcel Diallo\u003c/a> and \u003ca href=\"https://openspace.sfmoma.org/2009/10/seeing-with-the-blackeyed-peathe-art-of-letitia-ntofon/\">Letitia Ntofon\u003c/a> and organizers from \u003ca href=\"https://www.instagram.com/tallersinfronteras/?hl=en\">Taller sin Fronteras\u003c/a> (also known as TSF or Workshop Without Borders) all came together to curate the first Malcolm X Jazz Festival in 2000.\u003c/p>\n\u003cp>They were informed by the work of Amiri Baraka, Yuri Kochiyama, Malaquías Montoya and especially Malcolm X. The festival exemplified “the liberation of people from Third World,” says Serrano — and art was the unifying force.\u003c/p>\n\u003cfigure id=\"attachment_13981408\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg\" alt=\"Two men pose for a photo\" width=\"2000\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-1536x1089.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poet, playwright and author Amiri Baraka with organizer, artist and mentor Greg Morozumi, circa 1992. The following year, Morozumi would organize a ‘No Justice, No Peace’ event at Oakland’s Pro Arts, predating his work with EastSide Arts Alliance. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t know what we were doing,” Serrano says, reflecting on the first Malcolm X Jazz Festival. “We booked 11 acts on the main stage.” Attempting to reach all demographics with “straight-ahead jazz, jazz with hip-hop, Asian jazz, Latin jazz” and more, Serrano says, they soon learned to book less performers. But their heart was in the right place, and San Antonio Park provided a perfect location for their mission.\u003c/p>\n\u003cp>Formerly \u003ca href=\"https://www.oaklandca.gov/files/assets/city/v/1/transportation/documents/projects/san-antonio-park-master-plan/saphistoryarticle.pdf\">the site of bear and bull fights in the 1800s\u003c/a>, San Antonio Park is located on the rolling hills of the 20s in East Oakland. At the time of the first jazz festival, organizers saw the surrounding community of Southeast Asian, Chicano, Indigenous, and African-American residents as a prime example of Third World solidarity.\u003c/p>\n\u003cp>“But,” says Serrano, “it was also one of the poorest neighborhoods in Oakland.”\u003c/p>\n\u003cp>As philanthropic efforts were aimed at curbing the neighborhood’s problems, Serrano and company emphasized its benefits, like its diversity. “This is the most culturally rich community ever,” she says. “This is a true asset.”\u003c/p>\n\u003cp>Once the newly founded EastSide Arts Alliance secured funding, they launched a cultural space focused on unity to “build power amongst the people” and make needed change, says Serrano.\u003c/p>\n\u003cfigure id=\"attachment_13981411\" class=\"wp-caption aligncenter\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg\" alt=\"A man standing, reading a book, while standing in front of a bookcase. \" width=\"1110\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-768x512.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance co-founder Greg Morozumi reading one of his many books. To honor his love of books, EastSide now has a reading room dedicated to him. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A far-ranging influence\u003c/h2>\n\u003cp>Over the decades, and spanning three different locations, the center has provided a home for young people. It’s where artists grow into refined practitioners, like \u003ca href=\"https://www.instagram.com/ladimeuna/?hl=en\">Leslie “Dime” Lopez\u003c/a>. At the turn of the millennium, Lopez was a teenager who just wanted to spray paint. Now in her late 30s, Dime’s aerosol artwork now covers walls throughout the Bay Area and beyond.\u003c/p>\n\u003cp>“Graf was a big thing during that time in my life,” she says, reflecting on her teenage years during a recent phone call. She was introduced to the center when a close friend volunteered at EastSide Arts’ first Malcolm X Jazz Festival. Lopez tagged along, and soon she started attending programs, working on murals and doing banner pieces on the sidewalk. “It was the very first stages,” says Lopez, “of being a part of a community of writers that were doing a bigger things in the neighborhood.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/kev.akhidenor\">Kevin Akhidenor\u003c/a>, an educator, lyricist and accomplished freestyle rapper, also found a home at EastSide starting in 2002, when he and a friend first attended its Beats Flows program.\u003c/p>\n\u003cp>Akhidenor clearly remembers his first day, when he was a glasses-wearing fresh face on the scene. When he walked into the center, program leaders “bum-rushed” him — “they were just roasting me, and battling me,” he laughs. Momentarily overwhelmed, he quickly responded: “Battling and freestyling ain’t never been no issue to me,” he reflects, “so I just battled back.”\u003c/p>\n\u003cp>Akhidenor has been involved ever since.\u003c/p>\n\u003cfigure id=\"attachment_13832468\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg\" alt=\"The Malcolm X Jazz Arts Festival in 2009.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Malcolm X Jazz Arts Festival in 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2003, Akhidenor met Greg Morozumi, Elena Serrano and \u003ca href=\"https://www.instagram.com/tracibartlow/?hl=en\">Traci Bartlow\u003c/a>, and realized, “This is an arts political organization.” He soon joined the Malcolm X Jazz Festival planning committee, hosted a stage at that year’s event and eventually joined EastSide’s staff.\u003c/p>\n\u003cp>Well-known jazz musician \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> has been part of the Malcolm X Jazz Festival since the event’s second year. He remembers it vividly — not only because he played alongside Marcus Shelby’s group, but because he borrowed his grandmother’s diesel Mercedes Benz to get there. “And I didn’t have a license,” Wiley says.\u003c/p>\n\u003cp>In recent years, he’s become the de facto curator of the main stage. One of the most important aspects for him of the jazz festival, and EastSide as a whole, is how artists gain political knowledge from people who’ve lived it firsthand.\u003c/p>\n\u003cp>Through Morozumi and Serrano, Wiley has met members of the Last Poets and hung-out with famed jazz saxophonist David Murray. He’s heard about conversations with Thelonius Monk, John Coltrane and Malcolm X from people who were there when the titans talked. He was also blessed with Greg Morozumi’s record collection before he passed.\u003c/p>\n\u003cp>“When he had to go into hospice,” Wiley says, “we moved him out, and we were just moving all these tapes, records and books.” Blown away by the wealth in Morozumi’s archives, Wiley says, “Man, that was a dude who was committed to knowledge of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13981410\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg\" alt=\"A black and white photo showing a man's back as he sits at a desk. \" width=\"1686\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-1536x1019.jpg 1536w\" sizes=\"auto, (max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Greg Morozumi was a constant learner, and eternal teacher. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You want to make the ancestors proud’\u003c/h2>\n\u003cp>In the space adjacent to EastSide Arts is \u003ca href=\"https://www.eastsideartsalliance.org/bandung-books\">Bandung Books\u003c/a>, where many of Greg’s old books have found a home. “That idea of literacy,” says Serrano, “is something that we want to stress.”\u003c/p>\n\u003cp>Known for community events like the last month’s \u003ca href=\"https://www.eastsideartsalliance.org/blog/thank-you-for-attending-xicana-moratorium\">Xicana Moratorium Block Party,\u003c/a> the center’s most foundational practice is the simple act of reading. The first program at EastSide was the Community Archive Resource Project, which started with materials Greg had collected over 50 years of organizing work.\u003c/p>\n\u003cp>Comprised of binders of material from around the world, highlighting community actions against police brutality and uplifting the importance of the arts, Greg would use the archive as a tool for mentorship.\u003c/p>\n\u003cp>“When this generation of young people in our music studio wants to write about police brutality,” says Serrano, “Greg would be like, ‘Okay, look at all this stuff that came before you. You don’t have to reinvent stuff, you have to take it to the next level.'”\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">Now digitized\u003c/a>, Serrano says Greg’s archives of posters, music, buttons and books push artists to ask themselves, “Now, what is your role?”\u003c/p>\n\u003cp>In the coming months, Serrano will fully transition out of leadership at the center, and pass the baton to a collective of people who’ve been with the center since their teens, including Kevin Akhidenor and Leslie “Dime” Lopez.\u003c/p>\n\u003cp>“My heart is split in so many different ways,” says Lopez, about the forthcoming changes. On one hand, “I’m excited for our elders, and to continue their legacy and to really stand on the shoulders of those that built the space.”\u003c/p>\n\u003cp>But she can’t help but feel the pressure of taking the reins. “It’s scary,” Lopez says, “you want to make your parents proud, you know? And you want to make the ancestors proud as well.”\u003c/p>\n\u003cp>Reflecting on the legacy of Greg Morozumi, as well as Elena Serrano and Susanne Takehara, Lopez gives them their flowers: “They shared so much and gave so much of their lives to this space,” she says, “for us to continue that work, the only thing we can do is pay it forward.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a> takes place Saturday, Sept. 20, at EastSide Arts Alliance (2277 International Blvd., Oakland). \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981412\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981412\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg\" alt=\"A man sitting in front of a white board with writing on it.\" width=\"1144\" height=\"1754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.MalcolmX.2001.sitting-1002x1536.jpg 1002w\" sizes=\"auto, (max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance cofounder Greg Morozumi, pictured planning the 2001 Malcolm X Jazz Festival. With Morozumi’s passing in June and two other cofounders stepping down, the EastSide Arts Alliance will be led by a collective. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s \u003ca href=\"https://www.kqed.org/arts/21803/eastside_arts_alliance\">EastSide Arts Alliance\u003c/a> is a cultural hub where young artists are politicized, community members are fed and events like the \u003ca href=\"https://www.eastsideartsalliance.org/programs/malcolm-x-jazz-arts-festival\">Malcolm X Jazz Festival\u003c/a> are organized.\u003c/p>\n\u003cp>More than a traditional jazz fest, the event is a community resource where creatives, educators and entrepreneurs celebrate a variety of arts. It’s where 10 years ago \u003ca href=\"https://www.npr.org/2014/01/09/261101520/amiri-baraka-poet-and-co-founder-of-black-arts-movement-dies-at-79\">Amiri Baraka\u003c/a>, the father of the Black Arts Movement, was honored after he transitioned. It’s where \u003ca href=\"https://www.youtube.com/watch?v=wnJEz776THs\">a young Kehlani once performed\u003c/a> under the mentorship of the late \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>.\u003c/p>\n\u003cp>On Saturday, Sept. 20, EastSide Arts Alliance kicks off its 25th anniversary with \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a>, the first in a year-long series of events celebrating the center with art, food, history and community.\u003c/p>\n\u003cp>The afternoon \u003ca href=\"https://donorbox.org/eastside-arts-alliance-25th-anniversary-giving-campaign?fbclid=PAZXh0bgNhZW0CMTEAAac0m59hLWeTNQTBkUR8idP-wpemAX9EzvxbbXvgh94Tl1i_2IthyiqOrw6myA_aem_6dPCml5WDgEQa-mGuWqR0A\">fundraiser\u003c/a> and performance includes the talented \u003ca href=\"https://www.instagram.com/dnagadance/\">Dnaga Dance Company\u003c/a>, longtime EastSide Arts collaborator and \u003ca href=\"https://www.deepwatersdance.com/\">Deep Waters Dance Theatre\u003c/a> founder amara tabor-smith, violinist \u003ca href=\"https://www.illustrationhistory.org/artists/joan-tarika-lewis\">Tarika Lewis\u003c/a> — the first woman to join the Black Panther Party — and others.\u003c/p>\n\u003cfigure id=\"attachment_13981409\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg\" alt=\"A photo of a woman in a light blue shirt and a man in a black shirt, sun glasses and hat standing in a park. \" width=\"2000\" height=\"1307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/0-1536x1004.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Elena Serrano and Greg Morozumi, two of the co-founders behind EastSide Arts Alliance pictured at Malcolm X Jazz Festival at San Antonio Park. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event comes at a time of transition for for the community institution. \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">Greg Jung Morozumi\u003c/a>, EastSide Arts Alliance co-founder and mentor to many, \u003ca href=\"https://www.eastsideartsalliance.org/blog/greg-jung-morozumi\">passed in June\u003c/a>. Elena Serrano and Susanne Takehara, the center’s two remaining founding members, will soon step down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet even as the baton is passed to the next generation, Serrano says, the work isn’t going to stop.\u003c/p>\n\u003ch2>The birth of an community institution\u003c/h2>\n\u003cp>The seeds that grew into EastSide Arts Alliance were planted in the late 1990s, when four collectives came together. Aerosol writers \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\">Mike “Dream” Francisco\u003c/a> and the \u003ca href=\"https://dreamtdk.com/\">TDK\u003c/a> crew, \u003ca href=\"https://favianna.com/\">Favianna Rodriguez\u003c/a>’s C4 collective, the Black Dot’s \u003ca href=\"https://www.sfgate.com/bayarea/article/Against-Gentrification-Marcel-Diallo-sees-a-2622101.php\">Marcel Diallo\u003c/a> and \u003ca href=\"https://openspace.sfmoma.org/2009/10/seeing-with-the-blackeyed-peathe-art-of-letitia-ntofon/\">Letitia Ntofon\u003c/a> and organizers from \u003ca href=\"https://www.instagram.com/tallersinfronteras/?hl=en\">Taller sin Fronteras\u003c/a> (also known as TSF or Workshop Without Borders) all came together to curate the first Malcolm X Jazz Festival in 2000.\u003c/p>\n\u003cp>They were informed by the work of Amiri Baraka, Yuri Kochiyama, Malaquías Montoya and especially Malcolm X. The festival exemplified “the liberation of people from Third World,” says Serrano — and art was the unifying force.\u003c/p>\n\u003cfigure id=\"attachment_13981408\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg\" alt=\"Two men pose for a photo\" width=\"2000\" height=\"1418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Amiri-Baraka-and-Greg-1536x1089.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Poet, playwright and author Amiri Baraka with organizer, artist and mentor Greg Morozumi, circa 1992. The following year, Morozumi would organize a ‘No Justice, No Peace’ event at Oakland’s Pro Arts, predating his work with EastSide Arts Alliance. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We didn’t know what we were doing,” Serrano says, reflecting on the first Malcolm X Jazz Festival. “We booked 11 acts on the main stage.” Attempting to reach all demographics with “straight-ahead jazz, jazz with hip-hop, Asian jazz, Latin jazz” and more, Serrano says, they soon learned to book less performers. But their heart was in the right place, and San Antonio Park provided a perfect location for their mission.\u003c/p>\n\u003cp>Formerly \u003ca href=\"https://www.oaklandca.gov/files/assets/city/v/1/transportation/documents/projects/san-antonio-park-master-plan/saphistoryarticle.pdf\">the site of bear and bull fights in the 1800s\u003c/a>, San Antonio Park is located on the rolling hills of the 20s in East Oakland. At the time of the first jazz festival, organizers saw the surrounding community of Southeast Asian, Chicano, Indigenous, and African-American residents as a prime example of Third World solidarity.\u003c/p>\n\u003cp>“But,” says Serrano, “it was also one of the poorest neighborhoods in Oakland.”\u003c/p>\n\u003cp>As philanthropic efforts were aimed at curbing the neighborhood’s problems, Serrano and company emphasized its benefits, like its diversity. “This is the most culturally rich community ever,” she says. “This is a true asset.”\u003c/p>\n\u003cp>Once the newly founded EastSide Arts Alliance secured funding, they launched a cultural space focused on unity to “build power amongst the people” and make needed change, says Serrano.\u003c/p>\n\u003cfigure id=\"attachment_13981411\" class=\"wp-caption aligncenter\" style=\"max-width: 1110px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981411\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg\" alt=\"A man standing, reading a book, while standing in front of a bookcase. \" width=\"1110\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed.jpg 1110w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/unnamed-768x512.jpg 768w\" sizes=\"auto, (max-width: 1110px) 100vw, 1110px\">\u003cfigcaption class=\"wp-caption-text\">EastSide Arts Alliance co-founder Greg Morozumi reading one of his many books. To honor his love of books, EastSide now has a reading room dedicated to him. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A far-ranging influence\u003c/h2>\n\u003cp>Over the decades, and spanning three different locations, the center has provided a home for young people. It’s where artists grow into refined practitioners, like \u003ca href=\"https://www.instagram.com/ladimeuna/?hl=en\">Leslie “Dime” Lopez\u003c/a>. At the turn of the millennium, Lopez was a teenager who just wanted to spray paint. Now in her late 30s, Dime’s aerosol artwork now covers walls throughout the Bay Area and beyond.\u003c/p>\n\u003cp>“Graf was a big thing during that time in my life,” she says, reflecting on her teenage years during a recent phone call. She was introduced to the center when a close friend volunteered at EastSide Arts’ first Malcolm X Jazz Festival. Lopez tagged along, and soon she started attending programs, working on murals and doing banner pieces on the sidewalk. “It was the very first stages,” says Lopez, “of being a part of a community of writers that were doing a bigger things in the neighborhood.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/kev.akhidenor\">Kevin Akhidenor\u003c/a>, an educator, lyricist and accomplished freestyle rapper, also found a home at EastSide starting in 2002, when he and a friend first attended its Beats Flows program.\u003c/p>\n\u003cp>Akhidenor clearly remembers his first day, when he was a glasses-wearing fresh face on the scene. When he walked into the center, program leaders “bum-rushed” him — “they were just roasting me, and battling me,” he laughs. Momentarily overwhelmed, he quickly responded: “Battling and freestyling ain’t never been no issue to me,” he reflects, “so I just battled back.”\u003c/p>\n\u003cp>Akhidenor has been involved ever since.\u003c/p>\n\u003cfigure id=\"attachment_13832468\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832468\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg\" alt=\"The Malcolm X Jazz Arts Festival in 2009.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MalcolmX.MAIN_-520x293.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Malcolm X Jazz Arts Festival in 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2003, Akhidenor met Greg Morozumi, Elena Serrano and \u003ca href=\"https://www.instagram.com/tracibartlow/?hl=en\">Traci Bartlow\u003c/a>, and realized, “This is an arts political organization.” He soon joined the Malcolm X Jazz Festival planning committee, hosted a stage at that year’s event and eventually joined EastSide’s staff.\u003c/p>\n\u003cp>Well-known jazz musician \u003ca href=\"https://www.kqed.org/arts/tag/howard-wiley\">Howard Wiley\u003c/a> has been part of the Malcolm X Jazz Festival since the event’s second year. He remembers it vividly — not only because he played alongside Marcus Shelby’s group, but because he borrowed his grandmother’s diesel Mercedes Benz to get there. “And I didn’t have a license,” Wiley says.\u003c/p>\n\u003cp>In recent years, he’s become the de facto curator of the main stage. One of the most important aspects for him of the jazz festival, and EastSide as a whole, is how artists gain political knowledge from people who’ve lived it firsthand.\u003c/p>\n\u003cp>Through Morozumi and Serrano, Wiley has met members of the Last Poets and hung-out with famed jazz saxophonist David Murray. He’s heard about conversations with Thelonius Monk, John Coltrane and Malcolm X from people who were there when the titans talked. He was also blessed with Greg Morozumi’s record collection before he passed.\u003c/p>\n\u003cp>“When he had to go into hospice,” Wiley says, “we moved him out, and we were just moving all these tapes, records and books.” Blown away by the wealth in Morozumi’s archives, Wiley says, “Man, that was a dude who was committed to knowledge of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13981410\" class=\"wp-caption aligncenter\" style=\"max-width: 1686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg\" alt=\"A black and white photo showing a man's back as he sits at a desk. \" width=\"1686\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk.jpg 1686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/Morozumi.officedesk-1536x1019.jpg 1536w\" sizes=\"auto, (max-width: 1686px) 100vw, 1686px\">\u003cfigcaption class=\"wp-caption-text\">Greg Morozumi was a constant learner, and eternal teacher. \u003ccite>(EastSide Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘You want to make the ancestors proud’\u003c/h2>\n\u003cp>In the space adjacent to EastSide Arts is \u003ca href=\"https://www.eastsideartsalliance.org/bandung-books\">Bandung Books\u003c/a>, where many of Greg’s old books have found a home. “That idea of literacy,” says Serrano, “is something that we want to stress.”\u003c/p>\n\u003cp>Known for community events like the last month’s \u003ca href=\"https://www.eastsideartsalliance.org/blog/thank-you-for-attending-xicana-moratorium\">Xicana Moratorium Block Party,\u003c/a> the center’s most foundational practice is the simple act of reading. The first program at EastSide was the Community Archive Resource Project, which started with materials Greg had collected over 50 years of organizing work.\u003c/p>\n\u003cp>Comprised of binders of material from around the world, highlighting community actions against police brutality and uplifting the importance of the arts, Greg would use the archive as a tool for mentorship.\u003c/p>\n\u003cp>“When this generation of young people in our music studio wants to write about police brutality,” says Serrano, “Greg would be like, ‘Okay, look at all this stuff that came before you. You don’t have to reinvent stuff, you have to take it to the next level.'”\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastsideartsalliance.org/archive-carp\">Now digitized\u003c/a>, Serrano says Greg’s archives of posters, music, buttons and books push artists to ask themselves, “Now, what is your role?”\u003c/p>\n\u003cp>In the coming months, Serrano will fully transition out of leadership at the center, and pass the baton to a collective of people who’ve been with the center since their teens, including Kevin Akhidenor and Leslie “Dime” Lopez.\u003c/p>\n\u003cp>“My heart is split in so many different ways,” says Lopez, about the forthcoming changes. On one hand, “I’m excited for our elders, and to continue their legacy and to really stand on the shoulders of those that built the space.”\u003c/p>\n\u003cp>But she can’t help but feel the pressure of taking the reins. “It’s scary,” Lopez says, “you want to make your parents proud, you know? And you want to make the ancestors proud as well.”\u003c/p>\n\u003cp>Reflecting on the legacy of Greg Morozumi, as well as Elena Serrano and Susanne Takehara, Lopez gives them their flowers: “They shared so much and gave so much of their lives to this space,” she says, “for us to continue that work, the only thing we can do is pay it forward.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">A Taste of EastSide\u003c/a> takes place Saturday, Sept. 20, at EastSide Arts Alliance (2277 International Blvd., Oakland). \u003ca href=\"https://www.eastsideartsalliance.org/calendar/tastes-of-eastside\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13981517\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past week, the U.S. government has demanded that Americans support a blatant contradiction: to honor the memory of \u003ca href=\"https://www.kqed.org/news/12056113/charlie-kirks-assassination-and-the-rise-of-political-violence\">a free-speech promoting provocateur\u003c/a> by \u003ca href=\"https://www.npr.org/2025/09/18/nx-s1-5545671/kimmel-suspension-charlie-kirk-death-free-speech-censorship\">attacking and firing those who exercise their right to free speech\u003c/a>. \u003c/p>\n\u003cp>That’s the TLDR of it, anyway — I’m glossing over all the parts about \u003ca href=\"https://www.nytimes.com/2025/09/16/us/politics/charlie-kirk-shooting-bullets-messages.html\">bullets etched with furry lingo\u003c/a>, comparisons between \u003ca href=\"https://economictimes.indiatimes.com/news/international/global-trends/us-news-abortion-worse-than-holocaust-charlie-kirks-controversial-views-re-surface-daughter-rape-baby-delivered-after-trump-ally-assassinated/articleshow/123831808.cms?from=mdr\">abortion and the holocaust\u003c/a>, a future assassin \u003ca href=\"https://bsky.app/profile/iwriteok.bsky.social/post/3lynfxustfc2e\">cosplaying in a slav squat\u003c/a>, the \u003ca href=\"https://www.them.us/story/nancy-mace-trans-people-institutionalized-internet-charlie-kirk\">ongoing demonization of trans people\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2025/sep/11/charlie-kirk-quotes-beliefs\">qualified Black women\u003c/a>, and an \u003ca href=\"https://www.pbs.org/newshour/politics/trumps-moves-against-media-outlets-mirror-authoritarian-approaches-to-silencing-dissent\">encroaching takeover of American news media by a thin-skinned authoritarian president\u003c/a>. \u003c/p>\n\u003cp>The central contradiction of the opera \u003cem>Dead Man Walking\u003c/em>, which opened this week at San Francisco Opera, seems quaint by comparison. Is there a moral argument for a government to kill its own people as punishment for killing? As the author of the book \u003cem>Dead Man Walking\u003c/em>, Sister Helen Prejean never could have realized how uncomplicated this question would seem to an audience wrestling with the terrifying notion of American fascism.\u003c/p>\n\u003cfigure id=\"attachment_13981514\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13981514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Joseph De Rocher with Samuel Kidd and Philip Skinner as Prison Guards in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday night, during a return to the War Memorial Opera House 25 years after its seismic world premiere here in 2000, Jake Heggie and Terrence McNally’s widely acclaimed, oft-performed work felt not like one of the most successful operas of the modern age, but one already out of date. The death penalty? We’ve got bigger problems now. \u003c/p>\n\u003cp>Such is the cruel retroactive shadow of the current regime; one that’s unfair to this moving and still quite contemporary production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Dead Man Walking\u003c/em> opens with nude actors on stage and a horrific crime scene that’s shocking even by today’s standards. The multilevel set design by Michael McGarty and lighting by Brian Nason cohere to create a distinct, new world on stage of eerie woodland and oppressive barbed-wire fencing. McNally’s libretto is rich as ever, and under the baton of Patrick Summers, who also conducted the 2000 premiere, Heggie’s expressive, complex score soars beautifully.\u003c/p>\n\u003cfigure id=\"attachment_13981516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Angola State Prison set for San Francisco Opera’s production of ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it’s not as if capital punishment has receded into the past. Since \u003cem>Dead Man Walking\u003c/em>’s premiere, California voters have rejected two state propositions to repeal the death penalty, and Governor Gavin Newsom placed a moratorium on executions just six years ago, in 2019. \u003c/p>\n\u003cp>Which brings us to Ryan McKinny as death row inmate Joseph De Rocher, who wrestles with his conscience, worries for his mother and fears his ultimate fate. Rod Gilfry as Owen Hart, the father of a murdered girl, is a surprise standout, and both he and McKinny bring the required pathos and frustration to their roles.\u003c/p>\n\u003cp>Susan Graham, who performed the role of Prejean in 2000, returns in a full-force performance of emotion as De Rocher’s mother, grasping to understand the actions of her son and state government alike. Graham’s stellar performance made me wish I’d seen her in the original, 25 years ago. \u003c/p>\n\u003cfigure id=\"attachment_13981515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Graham as Mrs. Patrick De Rocher in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mezzo-soprano Jamie Barton, as Sister Helen Prejean, now has the task of bringing \u003cem>Dead Man Walking\u003c/em>’s moral quandary to life. Though Barton was raised in the south — the story takes place in Louisiana — she plays the conflicted nun a little too meekly, combined with the occasional smirk or chortle. The role of Prejean calls for something in the middle, a steadier balance of pious trepidation and down-to-earth humanity.\u003c/p>\n\u003cp>As for sheer musicality, though, when Barton and Brittany Renee, as Sister Rose, sing in duet, something special enters the air. In multiple moments of the cast and chorus singing together, and the orchestra at \u003cem>forte\u003c/em>, it creates opera at its best and most transcendent. \u003c/p>\n\u003cfigure id=\"attachment_13981518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean and Brittany Renee as Sister Rose in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prejean’s goal is an impossible one. Her God tells her she must have empathy for all, including racists and violent criminals, plus the families of the victims of racists and violent criminals, and it eats her up. With apologies for making a comparison to the 1995 film, that’s what Susan Sarandon conveyed so wonderfully on screen, and what I found myself missing most on the opera house stage – especially since all the other elements in this production are radiantly present. \u003c/p>\n\u003cp>Some of us may be feeling like Sister Helen Prejean this week, asked, as we are, to have sympathy for those with views and actions we find abhorrent. The thing is, most of us are not nuns. And none of us are saints. Nobody’s heart is large enough to let in all the evil in the world, and certainly not this week. Twenty-five years later, the challenge that \u003cem>Dead Man Walking\u003c/em> hands us is more untenable than ever. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man Walking’ runs through Sunday, Sept. 28, at the War Memorial Opera House (301 Van Ness Ave., San Francisco). \u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981517\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1252-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past week, the U.S. government has demanded that Americans support a blatant contradiction: to honor the memory of \u003ca href=\"https://www.kqed.org/news/12056113/charlie-kirks-assassination-and-the-rise-of-political-violence\">a free-speech promoting provocateur\u003c/a> by \u003ca href=\"https://www.npr.org/2025/09/18/nx-s1-5545671/kimmel-suspension-charlie-kirk-death-free-speech-censorship\">attacking and firing those who exercise their right to free speech\u003c/a>. \u003c/p>\n\u003cp>That’s the TLDR of it, anyway — I’m glossing over all the parts about \u003ca href=\"https://www.nytimes.com/2025/09/16/us/politics/charlie-kirk-shooting-bullets-messages.html\">bullets etched with furry lingo\u003c/a>, comparisons between \u003ca href=\"https://economictimes.indiatimes.com/news/international/global-trends/us-news-abortion-worse-than-holocaust-charlie-kirks-controversial-views-re-surface-daughter-rape-baby-delivered-after-trump-ally-assassinated/articleshow/123831808.cms?from=mdr\">abortion and the holocaust\u003c/a>, a future assassin \u003ca href=\"https://bsky.app/profile/iwriteok.bsky.social/post/3lynfxustfc2e\">cosplaying in a slav squat\u003c/a>, the \u003ca href=\"https://www.them.us/story/nancy-mace-trans-people-institutionalized-internet-charlie-kirk\">ongoing demonization of trans people\u003c/a> and \u003ca href=\"https://www.theguardian.com/us-news/2025/sep/11/charlie-kirk-quotes-beliefs\">qualified Black women\u003c/a>, and an \u003ca href=\"https://www.pbs.org/newshour/politics/trumps-moves-against-media-outlets-mirror-authoritarian-approaches-to-silencing-dissent\">encroaching takeover of American news media by a thin-skinned authoritarian president\u003c/a>. \u003c/p>\n\u003cp>The central contradiction of the opera \u003cem>Dead Man Walking\u003c/em>, which opened this week at San Francisco Opera, seems quaint by comparison. Is there a moral argument for a government to kill its own people as punishment for killing? As the author of the book \u003cem>Dead Man Walking\u003c/em>, Sister Helen Prejean never could have realized how uncomplicated this question would seem to an audience wrestling with the terrifying notion of American fascism.\u003c/p>\n\u003cfigure id=\"attachment_13981514\" class=\"wp-caption aligncenter\" style=\"max-width: 1334px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg\" alt=\"\" width=\"1334\" height=\"2000\" class=\"size-full wp-image-13981514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608.jpg 1334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1608-1025x1536.jpg 1025w\" sizes=\"auto, (max-width: 1334px) 100vw, 1334px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Joseph De Rocher with Samuel Kidd and Philip Skinner as Prison Guards in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Wednesday night, during a return to the War Memorial Opera House 25 years after its seismic world premiere here in 2000, Jake Heggie and Terrence McNally’s widely acclaimed, oft-performed work felt not like one of the most successful operas of the modern age, but one already out of date. The death penalty? We’ve got bigger problems now. \u003c/p>\n\u003cp>Such is the cruel retroactive shadow of the current regime; one that’s unfair to this moving and still quite contemporary production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dead Man Walking\u003c/em> opens with nude actors on stage and a horrific crime scene that’s shocking even by today’s standards. The multilevel set design by Michael McGarty and lighting by Brian Nason cohere to create a distinct, new world on stage of eerie woodland and oppressive barbed-wire fencing. McNally’s libretto is rich as ever, and under the baton of Patrick Summers, who also conducted the 2000 premiere, Heggie’s expressive, complex score soars beautifully.\u003c/p>\n\u003cfigure id=\"attachment_13981516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/O2A4541-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Angola State Prison set for San Francisco Opera’s production of ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it’s not as if capital punishment has receded into the past. Since \u003cem>Dead Man Walking\u003c/em>’s premiere, California voters have rejected two state propositions to repeal the death penalty, and Governor Gavin Newsom placed a moratorium on executions just six years ago, in 2019. \u003c/p>\n\u003cp>Which brings us to Ryan McKinny as death row inmate Joseph De Rocher, who wrestles with his conscience, worries for his mother and fears his ultimate fate. Rod Gilfry as Owen Hart, the father of a murdered girl, is a surprise standout, and both he and McKinny bring the required pathos and frustration to their roles.\u003c/p>\n\u003cp>Susan Graham, who performed the role of Prejean in 2000, returns in a full-force performance of emotion as De Rocher’s mother, grasping to understand the actions of her son and state government alike. Graham’s stellar performance made me wish I’d seen her in the original, 25 years ago. \u003c/p>\n\u003cfigure id=\"attachment_13981515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A1624-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Graham as Mrs. Patrick De Rocher in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mezzo-soprano Jamie Barton, as Sister Helen Prejean, now has the task of bringing \u003cem>Dead Man Walking\u003c/em>’s moral quandary to life. Though Barton was raised in the south — the story takes place in Louisiana — she plays the conflicted nun a little too meekly, combined with the occasional smirk or chortle. The role of Prejean calls for something in the middle, a steadier balance of pious trepidation and down-to-earth humanity.\u003c/p>\n\u003cp>As for sheer musicality, though, when Barton and Brittany Renee, as Sister Rose, sing in duet, something special enters the air. In multiple moments of the cast and chorus singing together, and the orchestra at \u003cem>forte\u003c/em>, it creates opera at its best and most transcendent. \u003c/p>\n\u003cfigure id=\"attachment_13981518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13981518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/C0A2150-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Barton as Sister Helen Prejean and Brittany Renee as Sister Rose in Jake Heggie and Terrence McNally’s ‘Dead Man Walking.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prejean’s goal is an impossible one. Her God tells her she must have empathy for all, including racists and violent criminals, plus the families of the victims of racists and violent criminals, and it eats her up. With apologies for making a comparison to the 1995 film, that’s what Susan Sarandon conveyed so wonderfully on screen, and what I found myself missing most on the opera house stage – especially since all the other elements in this production are radiantly present. \u003c/p>\n\u003cp>Some of us may be feeling like Sister Helen Prejean this week, asked, as we are, to have sympathy for those with views and actions we find abhorrent. The thing is, most of us are not nuns. And none of us are saints. Nobody’s heart is large enough to let in all the evil in the world, and certainly not this week. Twenty-five years later, the challenge that \u003cem>Dead Man Walking\u003c/em> hands us is more untenable than ever. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man Walking’ runs through Sunday, Sept. 28, at the War Memorial Opera House (301 Van Ness Ave., San Francisco). \u003ca href=\"https://www.sfopera.com/operas/dead-man-walking/\">Tickets and more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even though she hasn’t put out an album in seven years, Cardi B has kept the public’s attention through hot singles and viral moments, whether it’s \u003ca href=\"https://musettedc.medium.com/the-raunchy-hip-hop-hit-that-humiliated-ben-shapiro-38f2456b437f\">shocking conservative pundits\u003c/a> with facts about the female anatomy in “W.A.P.” or giving fans a turnt-up block party soundtrack with her latest song, “Outside.”\u003c/p>\n\u003cp>After much anticipation, the Bronx rap star returns on Sept. 19 with her new album, \u003ci>Am I the Drama?\u003c/i>, and her first-ever headlining arena run, the Little Miss Drama Tour. The tour kicks off in Palm Desert on Feb. 11, 2026, and makes its way to the Bay Area for a Feb. 27 show at San Francisco’s Chase Center.\u003c/p>\n\u003cp>Tickets go on sale to the general public on Sept. 25, but there are a few ways to get presale access beforehand. The easiest one is signing up for \u003ca href=\"https://signup.ticketmaster.com/cardib\">Cardi’s artist presale\u003c/a> by Sunday, Sept. 21 at 10 p.m. On Sept. 23 at 10 a.m., fans who joined will get access via their Ticketmaster accounts, no promo code required.\u003c/p>\n\u003cp>Verizon customers get access to an even \u003ca href=\"https://www.verizon.com/my-access-rewards/?CMP=oth_b_x_pr_var_aw_2024_06_access\">earlier presale on Sept. 22 and 23\u003c/a>, both at 7 a.m., and \u003ca href=\"https://www.citientertainment.com/\">Citi cardholders\u003c/a> can begin their hunt for tickets on Sept. 23 at 7 a.m.\u003c/p>\n\u003cp>\u003ci>Am I the Drama?\u003c/i> takes its name from a quote from \u003ci>RuPaul’s Drag Race All Stars\u003c/i> contestant \u003ca href=\"https://www.tiktok.com/@akapigatto/video/7128558779754482950?lang=en\">Scarlet Envy\u003c/a>, who spawned many memes when she coyly wondered whether she was the villain of her season in a confessional interview. The album promises collaborations with a long list of heavy-hitters such as Janet Jackson, Megan Thee Stallion, Kehlani, Summer Walker and Tyla.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even though she hasn’t put out an album in seven years, Cardi B has kept the public’s attention through hot singles and viral moments, whether it’s \u003ca href=\"https://musettedc.medium.com/the-raunchy-hip-hop-hit-that-humiliated-ben-shapiro-38f2456b437f\">shocking conservative pundits\u003c/a> with facts about the female anatomy in “W.A.P.” or giving fans a turnt-up block party soundtrack with her latest song, “Outside.”\u003c/p>\n\u003cp>After much anticipation, the Bronx rap star returns on Sept. 19 with her new album, \u003ci>Am I the Drama?\u003c/i>, and her first-ever headlining arena run, the Little Miss Drama Tour. The tour kicks off in Palm Desert on Feb. 11, 2026, and makes its way to the Bay Area for a Feb. 27 show at San Francisco’s Chase Center.\u003c/p>\n\u003cp>Tickets go on sale to the general public on Sept. 25, but there are a few ways to get presale access beforehand. The easiest one is signing up for \u003ca href=\"https://signup.ticketmaster.com/cardib\">Cardi’s artist presale\u003c/a> by Sunday, Sept. 21 at 10 p.m. On Sept. 23 at 10 a.m., fans who joined will get access via their Ticketmaster accounts, no promo code required.\u003c/p>\n\u003cp>Verizon customers get access to an even \u003ca href=\"https://www.verizon.com/my-access-rewards/?CMP=oth_b_x_pr_var_aw_2024_06_access\">earlier presale on Sept. 22 and 23\u003c/a>, both at 7 a.m., and \u003ca href=\"https://www.citientertainment.com/\">Citi cardholders\u003c/a> can begin their hunt for tickets on Sept. 23 at 7 a.m.\u003c/p>\n\u003cp>\u003ci>Am I the Drama?\u003c/i> takes its name from a quote from \u003ci>RuPaul’s Drag Race All Stars\u003c/i> contestant \u003ca href=\"https://www.tiktok.com/@akapigatto/video/7128558779754482950?lang=en\">Scarlet Envy\u003c/a>, who spawned many memes when she coyly wondered whether she was the villain of her season in a confessional interview. The album promises collaborations with a long list of heavy-hitters such as Janet Jackson, Megan Thee Stallion, Kehlani, Summer Walker and Tyla.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "10-best-bay-area-san-francisco-oakland-san-jose-halloween-events-guide-2025",
"title": "Derby, Disco and Dirty Devils: 11 Bay Area Halloween Events for 2025",
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"content": "\u003cp>The Bay Area tends to outdo itself every Halloween, and 2025 offers something for everyone, whether you want to go on your own ghost hunt, \u003cem>boo\u003c/em>-gie down with disco freaks or get spooky with a symphony. Gracious goths, ghostly tour guides and even Rolling Dead skaters are all running wild this year.\u003c/p>\n\u003cp>Here are 11 unmissable events for Halloween 2025.\u003c/p>\n\u003cfigure id=\"attachment_13980995\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980995\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike.png\" alt=\"A grainy black and white image of UC Berkeley's campanile tower lit up at night, viewed behind trees.\" width=\"2000\" height=\"1373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike-1536x1054.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Explore UC Berkeley from a whole new (haunted) perspective on the Berkeley Haunted Hike. \u003ccite>(Berkeley Haunted Hike)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thehauntedbayberkeleyhauntedhike.fearticket.com/\">Berkeley Haunted Hike\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Berkeley Campus, Berkeley\u003c/em>\u003cbr>\n\u003cem>Select dates throughout October\u003c/em>[aside postID=news_12056776 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/09/holt_286_4870-e1758301572353.jpg']Since 2013, filmmaker Ying Liu has been sharing bone-chilling tales of local hauntings via her \u003ca href=\"https://www.instagram.com/thehauntedbay/\">\u003cem>Haunted Bay\u003c/em>\u003c/a> series. Liu has proven time and again that, for her, no lore is too off-putting, no history is too horrifying, and no location is too dangerous.\u003c/p>\n\u003cp>Because Liu is a tireless seeker of the strange, she knows a terrifying thing or two about locations that, to the rest of us, seem perfectly normal — including the grounds of UC Berkeley.\u003c/p>\n\u003cp>Liu has assembled a team of likeminded guides and ghost hunters to lead groups on a three-hour hike around the campus that has been known to scare the wits out of people during its second half.\u003c/p>\n\u003cp>The tours include elements of true crime, history and evidence from paranormal investigations, as well as personal anecdotes from the team. Bring your own flashlights (and good luck charms).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13980498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post.jpg\" alt=\"Two people stand on a rural road, surrounded by autumnal trees, dressed as traditional ghosts in white sheet. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Want a side of tea with your ghost stories? Check out ‘Ghosts in the Post.’ \u003ccite>(Vuk Saric/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ghosts in the Post\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.neonraspberry.com/\">Neon Raspberry Art House\u003c/a>, Occidental\u003c/em>\u003cbr>\n\u003cem>Nov. 2, 6 p.m—8 p.m.\u003c/em>\u003c/p>\n\u003cp>In collaboration with Books & Barns, a volunteer-run organization that showcases writers in rural spaces, the Neon Raspberry art space is hosting a night of haunted readings from classic texts. These are no ordinary readers, however. “Undead mushrooms, very dead authors and beautiful monsters” will all take the podium, apparently.\u003c/p>\n\u003cp>After story time is over, attendees can participate in a lantern-lit procession to \u003ca href=\"https://www.twotreesteahouse.com/pages/the-tea-house\">Two Trees Tea House\u003c/a> where there will be snacks, more ghostly goings-on and, duh, tea.\u003c/p>\n\u003cp>Wondering why the event is called Ghosts in the Post? The organizers will send out curated ghost stories to everyone that requests one via the \u003ca href=\"https://www.instagram.com/booksandbarns_aliterarything\">Books & Barns Instagram page\u003c/a>. Just send them a private message with your address and prepare for mail that’ll make you pale.\u003c/p>\n\u003cfigure id=\"attachment_13976494\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976494 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-scaled.jpeg\" alt=\"A flamboyant singer with cascading red hair performs on stage, wearing striking make-up and pink and white hot pants, top and ribbons.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">We’re not saying that everyone at Discoween is going to be dressed as Chappell Roan, but an awful lot of people at Discoween are probably going to be dressed as Chappell Roan.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/sapphic-spooky-showgirl-discoween-tickets-1602582630789\">Discoween\u003c/a>\u003c/h2>\n\u003cp>\u003cem>El Rio, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 31, 9 p.m.—2 a.m.\u003c/em>\u003c/p>\n\u003cp>There is a portion of the population of San Francisco that is so perpetually ebullient, so utterly fueled by queer joy, that they’ll make even the darkest holiday on the calendar sparkle. That is what Discoween is for. (That is also, as we all know, what El Rio is for.)\u003c/p>\n\u003cp>Organized by All Your Stupid Friends, this Halloween night shindig promises “Sapphic, Spooky, Showgirl” fun, fueled by your favorite pop and dance tunes from across time. There will be a bunch of costume contests, at least 10 people dressed as Chappell Roan, probably at least one impromptu “Thriller” dance routine and, scariest of all, ABBA songs (*shudder*). It’s also only $5 to get in. Go nuts.\u003c/p>\n\u003cfigure id=\"attachment_13979700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979700\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli.jpg\" alt=\"A woman wearing a white dress, veil and ghostly make-up stands in a grand hall, lit in red. She is holding dried flowers.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nightfall at Filoli.’ \u003ccite>(Julia Rose Photography/Courtesy of Filoli Historic House and Garden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://filoli.org/nightfall/\">Nightfall at Filoli\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Filoli Historic House & Garden, Woodside\u003c/em>\u003cbr>\n\u003cem>Oct. 3—Nov. 10\u003c/em>\u003c/p>\n\u003cp>If you haven’t yet paid a visit to the\u003ca href=\"https://www.kqed.org/arts/13979279/giant-trolls-filoli-gardens-thomas-dambo-woodside-eco-art-sculpture\"> enchanting giant trolls\u003c/a> that are currently hanging out on Filoli’s grounds, rejoice! Your slackness has paid off! Because now you get to see Thomas Dambo’s fascinating creatures by moonlight, surrounded by \u003cem>Children of the Corn\u003c/em>-level creepy scarecrows, scores of jack-o’-lanterns and monster-sized banana slugs. (Just go with it…)\u003c/p>\n\u003cp>What’s more, Filoli’s historic house will be hauntingly decorated. There’s a hay maze to get lost in, and even “a blacklight mushroom forest” (whatever that might entail). If you need further enticement, there will also be tarot readings, live music, games and kid-friendly activities to freak out the whole family. Visitors are encouraged to attend in costume, so get your Miss Havisham gowns ready.\u003c/p>\n\u003cfigure id=\"attachment_13971723\" class=\"wp-caption aligncenter\" style=\"max-width: 933px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage.jpg\" alt=\"A young woman with green-hued skin looks away as another young woman rests her head on her shoulder\" width=\"933\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage.jpg 933w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage-768x432.jpg 768w\" sizes=\"auto, (max-width: 933px) 100vw, 933px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo and Ariana Grande in ‘Wicked.’ \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/symphonic-spooktacular/\">Bewitching Broadway\u003c/a>\u003c/h2>\n\u003cp>\u003cem>California Theatre, San Jose\u003c/em>\u003cbr>\n\u003cem>Oct. 25 at 7:30 p.m. and Oct. 26 at 2:30 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/12039342/travel-through-the-solar-system-at-symphony-san-jose\">Symphony San Jose\u003c/a> conductor \u003ca href=\"https://www.theconductorsinstitute.com/peterjaffe\">Peter Jaffe\u003c/a> leads an evening of enchanting picks from Broadway’s most supernatural moments. Bookended by favorites from \u003cem>Wicked\u003c/em>, the program will include highlights from \u003cem>Sweeney Todd\u003c/em>, \u003cem>Dance of the Vampires\u003c/em>, \u003cem>The Phantom of the Opera, Little Shop of Horrors \u003c/em>and many more.\u003c/p>\n\u003cp>Jaffe has been known to conduct orchestras in full Halloween attire before, setting the perfect tone for the Bewitching Broadway audience costume contest. Participants in the under-18 category can win four tickets to Legoland, and the winner of the special judges’ prize will get two tickets to an upcoming \u003ca href=\"https://broadwaysanjose.com/\">Broadway San Jose\u003c/a> show.\u003c/p>\n\u003cfigure id=\"attachment_13982025\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis.png\" alt=\"A large, grand hotel lit up at night, overlooking San Francisco's Union Square.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis-1536x1021.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The storied St. Francis hotel has surprises waiting for you in room 1219.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.marriott.com/offers/haunted-suite-experience-off-185722/sfouw-the-westin-st-francis-san-francisco-on-union-square\">The Haunted Suite\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Westin St. Francis Hotel, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 1—Nov. 1. \u003c/em>\u003c/p>\n\u003cp>Old hotels often have rooms they caution guests about because of creepy histories or ghostly goings on. By far the most notorious room in Union Square’s landmark \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">St. Francis Hotel\u003c/a> is 1219. This former suite was the place where Roscoe “Fatty” Arbuckle was accused of assaulting actress Virginia Rappe, resulting in injuries that later caused her death in 1921. (Arbuckle was found not guilty only after three trials.) The room was also where infamous blackface-performer Al Jolson died in 1950.\u003c/p>\n\u003cp>For the month of October, the hotel is leaning all the way into that notoriety with special decorations in the room, including velvet drapes, flickering candlelight and other 1920s accents. The room even comes equipped with a Ouija board and themed tarot deck, in case you wish to chat with Arbuckle and Olson, or divine whether or not you’ll be leaving in the morning. Don’t expect to sleep soundly.\u003c/p>\n\u003cfigure id=\"attachment_13981003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print.jpg\" alt=\"Traditional Mexican print shows a fierce calavera brandishing a knife with a crowd of calaveras behind him.\" width=\"2000\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print-1536x965.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Calavera Oaxaquena,’ published by Antonio Vanegas Arroyo, circa 1903. \u003ccite>(VCG Wilson/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/689b781e709d274100369a4b\">Linocut Block Printing with Amor Eterno Arte\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oakland Public Library, Rockridge branch\u003c/em>\u003cbr>\n\u003cem>Oct. 21, 6 p.m—7:30 p.m\u003c/em>\u003c/p>\n\u003cp>The artisans of East Oakland tattoo studio and gallery \u003ca href=\"https://amoreternoarte.com/\">Amor Eterno Arte\u003c/a> will be hosting this celebration of Latine printmaking in the run-up to Día de los Muertos. This class will teach attendees (aged 10 and over) the basics of block printing, with all materials provided by Oakland’s Rockridge library.\u003c/p>\n\u003cp>Participants will make their own prints during the class but — even better — they’ll leave with the skills needed to make their own decorations in good time for Day of the Dead celebrations on Nov. 1 and 2.\u003c/p>\n\u003cfigure id=\"attachment_13979935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby.png\" alt=\"A roller derby skater wearing face paint, knee and elbow pads and a green and black uniform gestures to the camera while skating.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby-1536x1021.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Craving some competitive organized chaos this Halloween? Bay Area Derby has you covered. \u003ccite>(Will Toft/Courtesy of Bay Area Derby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bay-area-derby-halloween-bout-tickets-1207561281299\">Bay Area Derby Halloween Bout\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Richmond Memorial Auditorium, Richmond\u003c/em>\u003cbr>\n\u003cem>Oct. 25, 4 p.m—9 p.m.\u003c/em>\u003c/p>\n\u003cp>Roller derby is wild on any given day of the year, but the \u003ca href=\"https://www.bayareaderby.com/about/teams/oakland-outlaws\">Oakland Outlaws\u003c/a> and \u003ca href=\"https://www.bayareaderby.com/about/teams/san-francisco-rolling-dead\">San Francisco Rolling Dead\u003c/a> will be upping the stakes this October in a raucous Halloween Bay Area Derby special. Come see relentless skaters named things like Barbarian Streisand, Sylvia Wrath and Lexistential Dead tearing up the track — and each other — while in costume.\u003c/p>\n\u003cp>First whistle is at 6 p.m., and there will be vendors, food offerings and a costume contest to keep you entertained and refreshed before and during. Given that the Rolling Dead consider themselves “vengeful for victory and hungry for brains” and the Outlaws’ motto is “skate fast, hit hard, and win a good-looking trophy,” this promises to be a rager.\u003c/p>\n\u003cfigure id=\"attachment_13981153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981153 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost.png\" alt=\"A chaotic room lit by lasers and spotlights. Bare pipes are visible on the wall. \" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost-1536x1025.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bat Witch Ghost are haunting YBCA in 2025. \u003ccite>(Bat Witch Ghost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/batwitchghost/\">Bat Witch Ghost Haunt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/\">YBCA\u003c/a>, San Francisco\u003cbr>\nOct. 25—Nov. 1\u003c/em>\u003c/p>\n\u003cp>In 2024, Aaron Wojack turned the service entrance and garages of his apartment building into “The Corridor of Horror,” a mind-melting DIY haunted house that KQED Arts’ own Sarah Hotchkiss later described as “\u003ca href=\"https://www.kqed.org/arts/13969008/the-best-art-i-didnt-write-about-in-2024\">the most thrilling, scream-filled minutes of my 2024\u003c/a>.”\u003c/p>\n\u003cp>The event was such a hit that, this year, Wojack’s vision is hitting the hallowed halls of \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">YBCA\u003c/a>, after an invitation from the art center’s CEO, \u003ca href=\"https://www.kqed.org/arts/13969404/ybca-new-ceo-mari-robles-headlands\">Mari Robles\u003c/a>. Ten artists will be presenting their own takes on the haunt’s theme, “Forest of the Eye.” An indoor labyrinth will dominate YBCA’s Forum room, while a graveyard featuring a bar, ambient DJs, psychic readers and face painters will be outside. Costumes are encouraged.\u003c/p>\n\u003cp>Adults can attend nighttime shows complete with actors, while families are invited to a to-be-announced number of kid-friendly daytime events.\u003c/p>\n\u003cfigure id=\"attachment_13980364\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live.png\" alt=\"\" width=\"2000\" height=\"1164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live-768x447.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live-1536x894.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glynn Washington and friends are taking ‘Spooked’ live. \u003ccite>(KQED/Snap Judgment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.paramountoakland.org/events/detail/kqed-spooked-live\">‘Spooked’ Live\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Paramount Theater, Oakland\u003c/em>\u003cbr>\n\u003cem>Oct. 25, 7 p.m.\u003c/em>\u003c/p>\n\u003cp>For mysterious host \u003ca href=\"https://en.wikipedia.org/wiki/Glynn_Washington\">Glynn Washington\u003c/a> and the producers of KQED’s\u003ca href=\"https://spookedpodcast.org/\">\u003cem> Spooked\u003c/em> podcast\u003c/a>, scary stories are for every week of the year, not just Halloween. And as any \u003cem>Spooked\u003c/em> listener could tell you, the most frightening thing of all is that every spine-chilling story featured in the series is true.\u003c/p>\n\u003cp>Washington will be joined by three storytellers from the \u003cem>Spooked\u003c/em> annals, Tiyi Schippers, Esther Squires and “Hawaii Ghost Guy” \u003ca href=\"https://www.instagram.com/hawaiighostguy/?hl=en\">Lopaka Kapanui\u003c/a>. Their tales from beyond the veil will be brought to life with the assistance of animations by \u003ca href=\"https://www.instagram.com/underpresser/?hl=en\">Joe Presser\u003c/a> and music by \u003ca href=\"https://www.instagram.com/clayxavier/?hl=en\">Clay Xavier\u003c/a>. There’s no better venue for this than the historic Paramount Theatre — a location renowned for its secret trapdoors and passageways, ghostly lore and rumors of hauntings.\u003c/p>\n\u003cp>Attend in your spookiest Halloween attire for a chance to win the \u003cem>Spooked\u003c/em> \u003cem>Live\u003c/em> best-dressed prize.\u003c/p>\n\u003cfigure id=\"attachment_13981005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror.jpg\" alt=\"A white man in garish make-up wearing a corset, stockings and garter belt performs on a stage with a strange woman and man posing behind him.\" width=\"2000\" height=\"1492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror-1536x1146.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Frank-N-Furter (Tim Curry) in all his glory, ‘The Rocky Horror Picture Show.’ \u003ccite>(Getty Images/United Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://barelylegal.rhps.org/\">‘The Rocky Horror Picture Show’ 50th Anniversary Parties\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues, Petaluma, Berkeley, Modesto, San Francisco, San Jose\u003c/em>\u003cbr>\n\u003cem>Throughout October\u003c/em>\u003c/p>\n\u003cp>It’s been half a century since Brad and Janet happened upon the gender-bending Dr. Frank-N-Furter and his mansion of strange seduction in \u003cem>The Rocky Horror Picture Show\u003c/em>. In that time, late night screenings of the lowbrow classic have become raucous parties where audience participation heightens all the saucy action.\u003c/p>\n\u003cp>[aside postid='arts_13982172']Now, thanks to\u003cem> Rocky Horror\u003c/em> fanatics \u003ca href=\"http://barelylegal.rhps.org/about.htm\">Barely Legal\u003c/a>, a run of anniversary screenings are taking over the Bay. Screenings will include an interactive pre-show by the Barely Legal performers, as well as a pack of props to utilize during the movie. Tickets are available at the following links: \u003ca href=\"http://barelylegal.rhps.org/rocky-horror-petaluma.htm\">Phoenix Theater\u003c/a>, Petaluma; \u003ca href=\"https://www.etix.com/ticket/p/45328066/rocky-horror-picture-show-berkeley-the-uc-theatre?gad_source=1&gad_campaignid=22902075321&gbraid=0AAAAABPNr9sW5xSRsC5VHfBUbQke_FQM4&gclid=Cj0KCQjwzt_FBhCEARIsAJGFWVlsmsMnVlgcEkY1vxVfJ6QBulmdbR7gHFsc3J4P6dY-PmSqnIOVHgcaAqTrEALw_wcB\">UC Theater\u003c/a>, Berkeley; \u003ca href=\"https://prod5.agileticketing.net/websales/pages/info.aspx?evtinfo=216261~4e8b4fa5-aaf4-4669-af20-791dec4fd008&\">State Theater\u003c/a>, Modesto; \u003ca href=\"https://www.broadwaysf.com/events/bsf-rhps-2025/curran-theater/tickets/58E541CC-022A-4CBC-BB75-4E53580B04D9\">The Curran Theater\u003c/a>, San Francisco; \u003ca href=\"https://3belowtheaters.com/rhps/\">3Below Theater\u003c/a>, San Jose.\u003c/p>\n\u003cp>If you’re a movie nerd and want more, please visit our \u003ca href=\"https://www.kqed.org/arts/13982172/san-francisco-halloween-2025-movie-screenings\">guide to Halloween movie happenings in San Francisco\u003c/a> this year.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area tends to outdo itself every Halloween, and 2025 offers something for everyone, whether you want to go on your own ghost hunt, \u003cem>boo\u003c/em>-gie down with disco freaks or get spooky with a symphony. Gracious goths, ghostly tour guides and even Rolling Dead skaters are all running wild this year.\u003c/p>\n\u003cp>Here are 11 unmissable events for Halloween 2025.\u003c/p>\n\u003cfigure id=\"attachment_13980995\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980995\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike.png\" alt=\"A grainy black and white image of UC Berkeley's campanile tower lit up at night, viewed behind trees.\" width=\"2000\" height=\"1373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike-768x527.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/UCB-hike-1536x1054.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Explore UC Berkeley from a whole new (haunted) perspective on the Berkeley Haunted Hike. \u003ccite>(Berkeley Haunted Hike)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thehauntedbayberkeleyhauntedhike.fearticket.com/\">Berkeley Haunted Hike\u003c/a>\u003c/h2>\n\u003cp>\u003cem>UC Berkeley Campus, Berkeley\u003c/em>\u003cbr>\n\u003cem>Select dates throughout October\u003c/em>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2013, filmmaker Ying Liu has been sharing bone-chilling tales of local hauntings via her \u003ca href=\"https://www.instagram.com/thehauntedbay/\">\u003cem>Haunted Bay\u003c/em>\u003c/a> series. Liu has proven time and again that, for her, no lore is too off-putting, no history is too horrifying, and no location is too dangerous.\u003c/p>\n\u003cp>Because Liu is a tireless seeker of the strange, she knows a terrifying thing or two about locations that, to the rest of us, seem perfectly normal — including the grounds of UC Berkeley.\u003c/p>\n\u003cp>Liu has assembled a team of likeminded guides and ghost hunters to lead groups on a three-hour hike around the campus that has been known to scare the wits out of people during its second half.\u003c/p>\n\u003cp>The tours include elements of true crime, history and evidence from paranormal investigations, as well as personal anecdotes from the team. Bring your own flashlights (and good luck charms).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13980498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980498\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post.jpg\" alt=\"Two people stand on a rural road, surrounded by autumnal trees, dressed as traditional ghosts in white sheet. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/ghosts-in-the-post-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Want a side of tea with your ghost stories? Check out ‘Ghosts in the Post.’ \u003ccite>(Vuk Saric/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Ghosts in the Post\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://www.neonraspberry.com/\">Neon Raspberry Art House\u003c/a>, Occidental\u003c/em>\u003cbr>\n\u003cem>Nov. 2, 6 p.m—8 p.m.\u003c/em>\u003c/p>\n\u003cp>In collaboration with Books & Barns, a volunteer-run organization that showcases writers in rural spaces, the Neon Raspberry art space is hosting a night of haunted readings from classic texts. These are no ordinary readers, however. “Undead mushrooms, very dead authors and beautiful monsters” will all take the podium, apparently.\u003c/p>\n\u003cp>After story time is over, attendees can participate in a lantern-lit procession to \u003ca href=\"https://www.twotreesteahouse.com/pages/the-tea-house\">Two Trees Tea House\u003c/a> where there will be snacks, more ghostly goings-on and, duh, tea.\u003c/p>\n\u003cp>Wondering why the event is called Ghosts in the Post? The organizers will send out curated ghost stories to everyone that requests one via the \u003ca href=\"https://www.instagram.com/booksandbarns_aliterarything\">Books & Barns Instagram page\u003c/a>. Just send them a private message with your address and prepare for mail that’ll make you pale.\u003c/p>\n\u003cfigure id=\"attachment_13976494\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13976494 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-scaled.jpeg\" alt=\"A flamboyant singer with cascading red hair performs on stage, wearing striking make-up and pink and white hot pants, top and ribbons.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/05/00-chappell-roan-by-will-heath-nbc-1920x1280.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">We’re not saying that everyone at Discoween is going to be dressed as Chappell Roan, but an awful lot of people at Discoween are probably going to be dressed as Chappell Roan.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/sapphic-spooky-showgirl-discoween-tickets-1602582630789\">Discoween\u003c/a>\u003c/h2>\n\u003cp>\u003cem>El Rio, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 31, 9 p.m.—2 a.m.\u003c/em>\u003c/p>\n\u003cp>There is a portion of the population of San Francisco that is so perpetually ebullient, so utterly fueled by queer joy, that they’ll make even the darkest holiday on the calendar sparkle. That is what Discoween is for. (That is also, as we all know, what El Rio is for.)\u003c/p>\n\u003cp>Organized by All Your Stupid Friends, this Halloween night shindig promises “Sapphic, Spooky, Showgirl” fun, fueled by your favorite pop and dance tunes from across time. There will be a bunch of costume contests, at least 10 people dressed as Chappell Roan, probably at least one impromptu “Thriller” dance routine and, scariest of all, ABBA songs (*shudder*). It’s also only $5 to get in. Go nuts.\u003c/p>\n\u003cfigure id=\"attachment_13979700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979700\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli.jpg\" alt=\"A woman wearing a white dress, veil and ghostly make-up stands in a grand hall, lit in red. She is holding dried flowers.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Nightfallfiloli-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nightfall at Filoli.’ \u003ccite>(Julia Rose Photography/Courtesy of Filoli Historic House and Garden)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://filoli.org/nightfall/\">Nightfall at Filoli\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Filoli Historic House & Garden, Woodside\u003c/em>\u003cbr>\n\u003cem>Oct. 3—Nov. 10\u003c/em>\u003c/p>\n\u003cp>If you haven’t yet paid a visit to the\u003ca href=\"https://www.kqed.org/arts/13979279/giant-trolls-filoli-gardens-thomas-dambo-woodside-eco-art-sculpture\"> enchanting giant trolls\u003c/a> that are currently hanging out on Filoli’s grounds, rejoice! Your slackness has paid off! Because now you get to see Thomas Dambo’s fascinating creatures by moonlight, surrounded by \u003cem>Children of the Corn\u003c/em>-level creepy scarecrows, scores of jack-o’-lanterns and monster-sized banana slugs. (Just go with it…)\u003c/p>\n\u003cp>What’s more, Filoli’s historic house will be hauntingly decorated. There’s a hay maze to get lost in, and even “a blacklight mushroom forest” (whatever that might entail). If you need further enticement, there will also be tarot readings, live music, games and kid-friendly activities to freak out the whole family. Visitors are encouraged to attend in costume, so get your Miss Havisham gowns ready.\u003c/p>\n\u003cfigure id=\"attachment_13971723\" class=\"wp-caption aligncenter\" style=\"max-width: 933px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971723\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage.jpg\" alt=\"A young woman with green-hued skin looks away as another young woman rests her head on her shoulder\" width=\"933\" height=\"525\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage.jpg 933w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/wicked.pressimage-768x432.jpg 768w\" sizes=\"auto, (max-width: 933px) 100vw, 933px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Erivo and Ariana Grande in ‘Wicked.’ \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.symphonysanjose.org/attend/2025-2026-season/concerts/symphonic-spooktacular/\">Bewitching Broadway\u003c/a>\u003c/h2>\n\u003cp>\u003cem>California Theatre, San Jose\u003c/em>\u003cbr>\n\u003cem>Oct. 25 at 7:30 p.m. and Oct. 26 at 2:30 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/12039342/travel-through-the-solar-system-at-symphony-san-jose\">Symphony San Jose\u003c/a> conductor \u003ca href=\"https://www.theconductorsinstitute.com/peterjaffe\">Peter Jaffe\u003c/a> leads an evening of enchanting picks from Broadway’s most supernatural moments. Bookended by favorites from \u003cem>Wicked\u003c/em>, the program will include highlights from \u003cem>Sweeney Todd\u003c/em>, \u003cem>Dance of the Vampires\u003c/em>, \u003cem>The Phantom of the Opera, Little Shop of Horrors \u003c/em>and many more.\u003c/p>\n\u003cp>Jaffe has been known to conduct orchestras in full Halloween attire before, setting the perfect tone for the Bewitching Broadway audience costume contest. Participants in the under-18 category can win four tickets to Legoland, and the winner of the special judges’ prize will get two tickets to an upcoming \u003ca href=\"https://broadwaysanjose.com/\">Broadway San Jose\u003c/a> show.\u003c/p>\n\u003cfigure id=\"attachment_13982025\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982025\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis.png\" alt=\"A large, grand hotel lit up at night, overlooking San Francisco's Union Square.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/St-Francis-1536x1021.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The storied St. Francis hotel has surprises waiting for you in room 1219.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.marriott.com/offers/haunted-suite-experience-off-185722/sfouw-the-westin-st-francis-san-francisco-on-union-square\">The Haunted Suite\u003c/a>\u003c/h2>\n\u003cp>\u003cem>The Westin St. Francis Hotel, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 1—Nov. 1. \u003c/em>\u003c/p>\n\u003cp>Old hotels often have rooms they caution guests about because of creepy histories or ghostly goings on. By far the most notorious room in Union Square’s landmark \u003ca href=\"https://www.kqed.org/arts/13953890/st-francis-hotel-san-francisco-history-arbuckle-jolson-crocker-gerald-ford\">St. Francis Hotel\u003c/a> is 1219. This former suite was the place where Roscoe “Fatty” Arbuckle was accused of assaulting actress Virginia Rappe, resulting in injuries that later caused her death in 1921. (Arbuckle was found not guilty only after three trials.) The room was also where infamous blackface-performer Al Jolson died in 1950.\u003c/p>\n\u003cp>For the month of October, the hotel is leaning all the way into that notoriety with special decorations in the room, including velvet drapes, flickering candlelight and other 1920s accents. The room even comes equipped with a Ouija board and themed tarot deck, in case you wish to chat with Arbuckle and Olson, or divine whether or not you’ll be leaving in the morning. Don’t expect to sleep soundly.\u003c/p>\n\u003cfigure id=\"attachment_13981003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print.jpg\" alt=\"Traditional Mexican print shows a fierce calavera brandishing a knife with a crowd of calaveras behind him.\" width=\"2000\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/block-print-1536x965.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Calavera Oaxaquena,’ published by Antonio Vanegas Arroyo, circa 1903. \u003ccite>(VCG Wilson/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://oaklandlibrary.bibliocommons.com/events/689b781e709d274100369a4b\">Linocut Block Printing with Amor Eterno Arte\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oakland Public Library, Rockridge branch\u003c/em>\u003cbr>\n\u003cem>Oct. 21, 6 p.m—7:30 p.m\u003c/em>\u003c/p>\n\u003cp>The artisans of East Oakland tattoo studio and gallery \u003ca href=\"https://amoreternoarte.com/\">Amor Eterno Arte\u003c/a> will be hosting this celebration of Latine printmaking in the run-up to Día de los Muertos. This class will teach attendees (aged 10 and over) the basics of block printing, with all materials provided by Oakland’s Rockridge library.\u003c/p>\n\u003cp>Participants will make their own prints during the class but — even better — they’ll leave with the skills needed to make their own decorations in good time for Day of the Dead celebrations on Nov. 1 and 2.\u003c/p>\n\u003cfigure id=\"attachment_13979935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby.png\" alt=\"A roller derby skater wearing face paint, knee and elbow pads and a green and black uniform gestures to the camera while skating.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/BAD-Halloween-derby-1536x1021.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Craving some competitive organized chaos this Halloween? Bay Area Derby has you covered. \u003ccite>(Will Toft/Courtesy of Bay Area Derby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bay-area-derby-halloween-bout-tickets-1207561281299\">Bay Area Derby Halloween Bout\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Richmond Memorial Auditorium, Richmond\u003c/em>\u003cbr>\n\u003cem>Oct. 25, 4 p.m—9 p.m.\u003c/em>\u003c/p>\n\u003cp>Roller derby is wild on any given day of the year, but the \u003ca href=\"https://www.bayareaderby.com/about/teams/oakland-outlaws\">Oakland Outlaws\u003c/a> and \u003ca href=\"https://www.bayareaderby.com/about/teams/san-francisco-rolling-dead\">San Francisco Rolling Dead\u003c/a> will be upping the stakes this October in a raucous Halloween Bay Area Derby special. Come see relentless skaters named things like Barbarian Streisand, Sylvia Wrath and Lexistential Dead tearing up the track — and each other — while in costume.\u003c/p>\n\u003cp>First whistle is at 6 p.m., and there will be vendors, food offerings and a costume contest to keep you entertained and refreshed before and during. Given that the Rolling Dead consider themselves “vengeful for victory and hungry for brains” and the Outlaws’ motto is “skate fast, hit hard, and win a good-looking trophy,” this promises to be a rager.\u003c/p>\n\u003cfigure id=\"attachment_13981153\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13981153 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost.png\" alt=\"A chaotic room lit by lasers and spotlights. Bare pipes are visible on the wall. \" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/bat-witch-ghost-1536x1025.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bat Witch Ghost are haunting YBCA in 2025. \u003ccite>(Bat Witch Ghost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.instagram.com/batwitchghost/\">Bat Witch Ghost Haunt\u003c/a>\u003c/h2>\n\u003cp>\u003cem>\u003ca href=\"https://ybca.org/\">YBCA\u003c/a>, San Francisco\u003cbr>\nOct. 25—Nov. 1\u003c/em>\u003c/p>\n\u003cp>In 2024, Aaron Wojack turned the service entrance and garages of his apartment building into “The Corridor of Horror,” a mind-melting DIY haunted house that KQED Arts’ own Sarah Hotchkiss later described as “\u003ca href=\"https://www.kqed.org/arts/13969008/the-best-art-i-didnt-write-about-in-2024\">the most thrilling, scream-filled minutes of my 2024\u003c/a>.”\u003c/p>\n\u003cp>The event was such a hit that, this year, Wojack’s vision is hitting the hallowed halls of \u003ca href=\"https://www.kqed.org/arts/tag/ybca\">YBCA\u003c/a>, after an invitation from the art center’s CEO, \u003ca href=\"https://www.kqed.org/arts/13969404/ybca-new-ceo-mari-robles-headlands\">Mari Robles\u003c/a>. Ten artists will be presenting their own takes on the haunt’s theme, “Forest of the Eye.” An indoor labyrinth will dominate YBCA’s Forum room, while a graveyard featuring a bar, ambient DJs, psychic readers and face painters will be outside. Costumes are encouraged.\u003c/p>\n\u003cp>Adults can attend nighttime shows complete with actors, while families are invited to a to-be-announced number of kid-friendly daytime events.\u003c/p>\n\u003cfigure id=\"attachment_13980364\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980364\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live.png\" alt=\"\" width=\"2000\" height=\"1164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live-768x447.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/spooked-live-1536x894.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Glynn Washington and friends are taking ‘Spooked’ live. \u003ccite>(KQED/Snap Judgment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.paramountoakland.org/events/detail/kqed-spooked-live\">‘Spooked’ Live\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Paramount Theater, Oakland\u003c/em>\u003cbr>\n\u003cem>Oct. 25, 7 p.m.\u003c/em>\u003c/p>\n\u003cp>For mysterious host \u003ca href=\"https://en.wikipedia.org/wiki/Glynn_Washington\">Glynn Washington\u003c/a> and the producers of KQED’s\u003ca href=\"https://spookedpodcast.org/\">\u003cem> Spooked\u003c/em> podcast\u003c/a>, scary stories are for every week of the year, not just Halloween. And as any \u003cem>Spooked\u003c/em> listener could tell you, the most frightening thing of all is that every spine-chilling story featured in the series is true.\u003c/p>\n\u003cp>Washington will be joined by three storytellers from the \u003cem>Spooked\u003c/em> annals, Tiyi Schippers, Esther Squires and “Hawaii Ghost Guy” \u003ca href=\"https://www.instagram.com/hawaiighostguy/?hl=en\">Lopaka Kapanui\u003c/a>. Their tales from beyond the veil will be brought to life with the assistance of animations by \u003ca href=\"https://www.instagram.com/underpresser/?hl=en\">Joe Presser\u003c/a> and music by \u003ca href=\"https://www.instagram.com/clayxavier/?hl=en\">Clay Xavier\u003c/a>. There’s no better venue for this than the historic Paramount Theatre — a location renowned for its secret trapdoors and passageways, ghostly lore and rumors of hauntings.\u003c/p>\n\u003cp>Attend in your spookiest Halloween attire for a chance to win the \u003cem>Spooked\u003c/em> \u003cem>Live\u003c/em> best-dressed prize.\u003c/p>\n\u003cfigure id=\"attachment_13981005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror.jpg\" alt=\"A white man in garish make-up wearing a corset, stockings and garter belt performs on a stage with a strange woman and man posing behind him.\" width=\"2000\" height=\"1492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/rocky-horror-1536x1146.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Frank-N-Furter (Tim Curry) in all his glory, ‘The Rocky Horror Picture Show.’ \u003ccite>(Getty Images/United Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://barelylegal.rhps.org/\">‘The Rocky Horror Picture Show’ 50th Anniversary Parties\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Various venues, Petaluma, Berkeley, Modesto, San Francisco, San Jose\u003c/em>\u003cbr>\n\u003cem>Throughout October\u003c/em>\u003c/p>\n\u003cp>It’s been half a century since Brad and Janet happened upon the gender-bending Dr. Frank-N-Furter and his mansion of strange seduction in \u003cem>The Rocky Horror Picture Show\u003c/em>. In that time, late night screenings of the lowbrow classic have become raucous parties where audience participation heightens all the saucy action.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, thanks to\u003cem> Rocky Horror\u003c/em> fanatics \u003ca href=\"http://barelylegal.rhps.org/about.htm\">Barely Legal\u003c/a>, a run of anniversary screenings are taking over the Bay. Screenings will include an interactive pre-show by the Barely Legal performers, as well as a pack of props to utilize during the movie. Tickets are available at the following links: \u003ca href=\"http://barelylegal.rhps.org/rocky-horror-petaluma.htm\">Phoenix Theater\u003c/a>, Petaluma; \u003ca href=\"https://www.etix.com/ticket/p/45328066/rocky-horror-picture-show-berkeley-the-uc-theatre?gad_source=1&gad_campaignid=22902075321&gbraid=0AAAAABPNr9sW5xSRsC5VHfBUbQke_FQM4&gclid=Cj0KCQjwzt_FBhCEARIsAJGFWVlsmsMnVlgcEkY1vxVfJ6QBulmdbR7gHFsc3J4P6dY-PmSqnIOVHgcaAqTrEALw_wcB\">UC Theater\u003c/a>, Berkeley; \u003ca href=\"https://prod5.agileticketing.net/websales/pages/info.aspx?evtinfo=216261~4e8b4fa5-aaf4-4669-af20-791dec4fd008&\">State Theater\u003c/a>, Modesto; \u003ca href=\"https://www.broadwaysf.com/events/bsf-rhps-2025/curran-theater/tickets/58E541CC-022A-4CBC-BB75-4E53580B04D9\">The Curran Theater\u003c/a>, San Francisco; \u003ca href=\"https://3belowtheaters.com/rhps/\">3Below Theater\u003c/a>, San Jose.\u003c/p>\n\u003cp>If you’re a movie nerd and want more, please visit our \u003ca href=\"https://www.kqed.org/arts/13982172/san-francisco-halloween-2025-movie-screenings\">guide to Halloween movie happenings in San Francisco\u003c/a> this year.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Full Hardly Strictly Bluegrass Lineup Is Here",
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"content": "\u003cp>The full lineup has been announced for the 25th-annual \u003ca href=\"https://www.kqed.org/arts/13810342\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place at Golden Gate Park Oct. 3–5.\u003c/p>\n\u003cp>National treasure Lucinda Williams is a returning artist to the festival, as is Australian guitar wizard Courtney Barnett. Jazz vocal phenom Samara Joy — who routinely sells out headlining shows in the Bay Area — makes her debut, and Robert Earl Keen, who tried to retire from touring a while back, should be a fan favorite.\u003c/p>\n\u003cp>Two other things to look for: the String Cheese Incident’s jam-band sensibilities in a bluegrass festival setting (expect at least one \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> cover; it’s Golden Gate Park, after all), and Chuck Prophet’s \u003ca href=\"https://www.kqed.org/arts/13966868/chuck-prophet-and-his-cumbia-shoes-wake-the-dead\">new cumbia project with a band of Latin musicians from Salinas\u003c/a>.\u003c/p>\n\u003cp>Here are the complete daily lineups.\u003c/p>\n\u003ch2>Friday, Oct. 3\u003c/h2>\n\u003cp>ALO\u003cbr>\nThe Altons\u003cbr>\nAmos Lee\u003cbr>\nAnderson East\u003cbr>\nBALTHVS\u003cbr>\nCorey Harris\u003cbr>\nThe Devil Makes Three\u003cbr>\nHannah Cohen\u003cbr>\nMarc Ribot: Map of A Blue City\u003cbr>\nMargaret Glaspy\u003cbr>\nMargo Price\u003cbr>\nThe Mother Hips\u003cbr>\nNathaniel Rateliff & The Night Sweats\u003cbr>\nNitty Gritty Dirt Band\u003cbr>\nPaper Wings\u003cbr>\nPurple Glaze\u003cbr>\nReverend Horton Heat\u003cbr>\nRodney Crowell\u003cbr>\nShawn Colvin\u003cbr>\nThe Singer & The Songwriter\u003cbr>\nSinkane\u003cbr>\nThe War and Treaty\u003c/p>\n\u003ch2>Saturday, Oct. 4\u003c/h2>\n\u003cp>Albert Lee\u003cbr>\nAustin de Lone Tribute w/ Bill Kirchen & Special Guests\u003cbr>\nBuddy Miller\u003cbr>\nCass McCombs\u003cbr>\nCelebration of Hazel Dickens F: Della Mae, Laurie Lewis, and Alice Gerrard\u003cbr>\nCimafunk\u003cbr>\nCourtney Barnett\u003cbr>\nDan Tyminski Band\u003cbr>\nHovvdy\u003cbr>\nHSB @ 25: Stories Behind the Festival\u003cbr>\nJeff Tweedy\u003cbr>\nJontavious Willis\u003cbr>\nJosh Ritter & the Royal City Band\u003cbr>\nKaia Kater\u003cbr>\nMaria Muldaur\u003cbr>\nMax Gomez\u003cbr>\nOlivia Wolf\u003cbr>\nPatty Griffin\u003cbr>\nRobert Earl Keen\u003cbr>\nRosanne Cash\u003cbr>\nRose City Band\u003cbr>\nRosie Flores\u003cbr>\nSam Bush\u003cbr>\nSamara Joy\u003cbr>\nSteve Earle & The Hardly Strictly Dukes\u003cbr>\nSCUFF: Queer Line Dancing Feat. Eric Long Band\u003cbr>\nTopHouse\u003cbr>\nThe Watson Twins\u003cbr>\nYoseff Tucker & The Bow Ties\u003c/p>\n\u003ch2>Sunday, Oct. 5\u003c/h2>\n\u003cp>Alan Sparhawk with Trampled by Turtles\u003cbr>\nAsher Shasho Levy\u003cbr>\nCharlie Parr\u003cbr>\nChuck Prophet and His Cumbia Shoes\u003cbr>\nDengue Fever\u003cbr>\nDougie Poole\u003cbr>\nDry Branch Fire Squad\u003cbr>\nEmmylou Harris\u003cbr>\nEvolfo\u003cbr>\nThe Felice Brothers\u003cbr>\nI’m With Her\u003cbr>\nJimmie Dale Gilmore and the West Texas Exiles\u003cbr>\nJohn Prine: Songs & Souvenirs w/ Jason Wilber & Dave Jacques\u003cbr>\nKelly McFarling\u003cbr>\nLola Kirke\u003cbr>\nLucinda Williams\u003cbr>\nMadeline Hawthorne\u003cbr>\nThe Mekons\u003cbr>\nMoonalice\u003cbr>\nNick Lowe & Los Straitjackets\u003cbr>\nOcie Elliott\u003cbr>\nO Warren Where Art Thou: The Hellman Siblings Remember Their Parents in Song\u003cbr>\nPeter Rowan With Sam Grisman Project Playing “Old & In The Way” & More\u003cbr>\nThe String Cheese Incident\u003cbr>\nTim O’Brien\u003cbr>\nWatchhouse\u003cbr>\nWilliam Prince\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The \u003ca href=\"https://hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a>, completely free, runs Oct. 3–5, 2025 in Golden Gate Park.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The full lineup has been announced for the 25th-annual \u003ca href=\"https://www.kqed.org/arts/13810342\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place at Golden Gate Park Oct. 3–5.\u003c/p>\n\u003cp>National treasure Lucinda Williams is a returning artist to the festival, as is Australian guitar wizard Courtney Barnett. Jazz vocal phenom Samara Joy — who routinely sells out headlining shows in the Bay Area — makes her debut, and Robert Earl Keen, who tried to retire from touring a while back, should be a fan favorite.\u003c/p>\n\u003cp>Two other things to look for: the String Cheese Incident’s jam-band sensibilities in a bluegrass festival setting (expect at least one \u003ca href=\"https://www.kqed.org/arts/tag/grateful-dead\">Grateful Dead\u003c/a> cover; it’s Golden Gate Park, after all), and Chuck Prophet’s \u003ca href=\"https://www.kqed.org/arts/13966868/chuck-prophet-and-his-cumbia-shoes-wake-the-dead\">new cumbia project with a band of Latin musicians from Salinas\u003c/a>.\u003c/p>\n\u003cp>Here are the complete daily lineups.\u003c/p>\n\u003ch2>Friday, Oct. 3\u003c/h2>\n\u003cp>ALO\u003cbr>\nThe Altons\u003cbr>\nAmos Lee\u003cbr>\nAnderson East\u003cbr>\nBALTHVS\u003cbr>\nCorey Harris\u003cbr>\nThe Devil Makes Three\u003cbr>\nHannah Cohen\u003cbr>\nMarc Ribot: Map of A Blue City\u003cbr>\nMargaret Glaspy\u003cbr>\nMargo Price\u003cbr>\nThe Mother Hips\u003cbr>\nNathaniel Rateliff & The Night Sweats\u003cbr>\nNitty Gritty Dirt Band\u003cbr>\nPaper Wings\u003cbr>\nPurple Glaze\u003cbr>\nReverend Horton Heat\u003cbr>\nRodney Crowell\u003cbr>\nShawn Colvin\u003cbr>\nThe Singer & The Songwriter\u003cbr>\nSinkane\u003cbr>\nThe War and Treaty\u003c/p>\n\u003ch2>Saturday, Oct. 4\u003c/h2>\n\u003cp>Albert Lee\u003cbr>\nAustin de Lone Tribute w/ Bill Kirchen & Special Guests\u003cbr>\nBuddy Miller\u003cbr>\nCass McCombs\u003cbr>\nCelebration of Hazel Dickens F: Della Mae, Laurie Lewis, and Alice Gerrard\u003cbr>\nCimafunk\u003cbr>\nCourtney Barnett\u003cbr>\nDan Tyminski Band\u003cbr>\nHovvdy\u003cbr>\nHSB @ 25: Stories Behind the Festival\u003cbr>\nJeff Tweedy\u003cbr>\nJontavious Willis\u003cbr>\nJosh Ritter & the Royal City Band\u003cbr>\nKaia Kater\u003cbr>\nMaria Muldaur\u003cbr>\nMax Gomez\u003cbr>\nOlivia Wolf\u003cbr>\nPatty Griffin\u003cbr>\nRobert Earl Keen\u003cbr>\nRosanne Cash\u003cbr>\nRose City Band\u003cbr>\nRosie Flores\u003cbr>\nSam Bush\u003cbr>\nSamara Joy\u003cbr>\nSteve Earle & The Hardly Strictly Dukes\u003cbr>\nSCUFF: Queer Line Dancing Feat. Eric Long Band\u003cbr>\nTopHouse\u003cbr>\nThe Watson Twins\u003cbr>\nYoseff Tucker & The Bow Ties\u003c/p>\n\u003ch2>Sunday, Oct. 5\u003c/h2>\n\u003cp>Alan Sparhawk with Trampled by Turtles\u003cbr>\nAsher Shasho Levy\u003cbr>\nCharlie Parr\u003cbr>\nChuck Prophet and His Cumbia Shoes\u003cbr>\nDengue Fever\u003cbr>\nDougie Poole\u003cbr>\nDry Branch Fire Squad\u003cbr>\nEmmylou Harris\u003cbr>\nEvolfo\u003cbr>\nThe Felice Brothers\u003cbr>\nI’m With Her\u003cbr>\nJimmie Dale Gilmore and the West Texas Exiles\u003cbr>\nJohn Prine: Songs & Souvenirs w/ Jason Wilber & Dave Jacques\u003cbr>\nKelly McFarling\u003cbr>\nLola Kirke\u003cbr>\nLucinda Williams\u003cbr>\nMadeline Hawthorne\u003cbr>\nThe Mekons\u003cbr>\nMoonalice\u003cbr>\nNick Lowe & Los Straitjackets\u003cbr>\nOcie Elliott\u003cbr>\nO Warren Where Art Thou: The Hellman Siblings Remember Their Parents in Song\u003cbr>\nPeter Rowan With Sam Grisman Project Playing “Old & In The Way” & More\u003cbr>\nThe String Cheese Incident\u003cbr>\nTim O’Brien\u003cbr>\nWatchhouse\u003cbr>\nWilliam Prince\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The \u003ca href=\"https://hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass Festival\u003c/a>, completely free, runs Oct. 3–5, 2025 in Golden Gate Park.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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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": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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