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"content": "\u003cp>Sean “Diddy” Combs presided over a \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">sordid empire of sexual crimes\u003c/a>, coercing and abusing women for years, threatening them to keep them in line and enlisting a cast of aides to cover it up, according to an indictment unsealed Tuesday.\u003c/p>\n\u003cp>The music mogul “engaged in a persistent and pervasive pattern of abuse toward women and other individuals,” including physical violence, in order “to fulfill his sexual desires, protect his reputation, and conceal his conduct, the indictment said.\u003c/p>\n\u003cp>[aside postid='arts_13954740']It describes him inducing female victims and male sex workers into drugged-up, sometimes dayslong sexual performances dubbed “Freak Offs.” It also refers obliquely to an attack on his former girlfriend, the R&B singer Cassie, that was captured on video.\u003c/p>\n\u003cp>Combs was arrested late Monday in Manhattan, roughly six months after federal authorities conducting a sex trafficking investigation raided his luxurious homes in Los Angeles and Miami. He was due in court Tuesday afternoon, and his three sons arrived at the courthouse Tuesday morning to observe.\u003c/p>\n\u003cp>Prosecutors said they would seek to have Combs detained pending trial. His lawyer, Marc Agnifilo, said outside the courthouse Tuesday morning that he’d fight to keep him free, and that Combs is innocent and would plead not guilty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His spirits are good. He’s confident,” said the attorney, who said Combs came to New York voluntarily to “engage the court system and start the case.”\u003c/p>\n\u003cp>The indictment describes Combs, the 54-year-old founder of Bad Boy Records, as the head of a criminal enterprise that engaged or attempted to engage in sex trafficking, forced labor, interstate transportation for purposes of prostitution, drug offenses, kidnapping, arson, bribery and obstruction of justice.\u003c/p>\n\u003cp>He’s accused of striking, punching and dragging women, throwing objects and kicking them — and getting his personal assistants, security and household staff to help him hide it all.\u003c/p>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The evidence in this case is incredibly powerful,” prosecutors said in a document seeking Combs’ detention. They said they had interviewed over 50 victims and witnesses and expect the number to grow.\u003c/p>\n\u003cp>Combs and his associates wielded his “power and prestige” to intimidate and lure women into his orbit, “often under the pretense of a romantic relationship,” the indictment says. It says he then would use force, threats and coercion to get the women to engage with male sex workers in the “Freak Offs” — “elaborate and produced sex performances” that Combs arranged, directed, masturbated during and often recorded, creating dozens of videos.\u003c/p>\n\u003cp>He sometimes arranged to fly the women in and ensured their participation by procuring and providing drugs, controlling their careers, leveraging his financial support and using intimidation and violence, according to the indictment.\u003c/p>\n\u003cp>The events could last for days, and Combs and victims would often receive IV fluids to recover from the exertion and drug use, the indictment said. It said his employees facilitated “Freak Offs” by arranging travel, booking hotel rooms, stocking them with such supplies as drugs and baby oil, scheduling the delivery of IV fluids and cleaning the rooms afterward.\u003c/p>\n\u003cp>[aside postid='arts_13962885']During a search of Combs’ homes in Miami and Los Angeles this year, law enforcement seized narcotics, videos of the “Freak Offs” and more than 1,000 bottles of baby oil and lubricant, according to prosecutors. They said agents also seized firearms and ammunition, including three AR-15s with defaced serial numbers — two of them, broken into parts, in his bedroom closet in Miami.\u003c/p>\n\u003cp>The indictment portrays Combs as a violent man who choked and shoved people, hit and kicked victims and sometimes dragged them by their hair, causing injuries that often took days or weeks to heal. His employees and associates sometimes witnessed his violence and kept victims from leaving or tracked down those who tried, the indictment said.\u003c/p>\n\u003cp>It alleges that Combs sometimes kept videos of victims engaging in sex acts and used the recordings as “collateral” to ensure the women’s continued obedience and silence. He also exerted control over victims by promising career opportunities, providing and threatening to withhold financial support, dictating how they looked, monitoring their health records and controlling where they lived, according to the indictment.\u003c/p>\n\u003cp>As the threat of criminal charges loomed, Combs and his associates pressured witnesses and victims to stay silent, offering bribes and supplying false narratives of what happened, the indictment says.\u003c/p>\n\u003cp>All of this, prosecutors allege, was happening behind the facade of Combs’ global music, lifestyle and clothing business.\u003c/p>\n\u003cp>“A year ago, Sean Combs stood in Times Square and was handed a key to New York City. Today, he’s been indicted and will face justice,” U.S. Attorney Damian Williams said at a news conference Tuesday. His office is bringing the case.\u003c/p>\n\u003cfigure id=\"attachment_13964397\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg\" alt=\"A Black man stands on a stage holding a microphone in one hand and a gold key mounted to a plaque in the other.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Combs receiving the Key to the City from Mayor Eric Adams in Times Square on Sept. 15, 2023 in New York City. \u003ccite>(Raymond Hall/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Combs returned the key in June after Mayor Eric Adams requested it back.\u003c/p>\n\u003cp>Combs was recognized as one of the most influential figures in hip-hop before a flood of allegations emerged over the past year.\u003c/p>\n\u003cp>In November, Cassie, whose legal name is Casandra Ventura, filed a lawsuit saying he had beaten and raped her for years. She accused Combs of coercing her, and others, into unwanted sex in drug-fueled settings.\u003c/p>\n\u003cp>The suit was settled in one day, but months later, CNN aired hotel security footage showing Combs punching and kicking Ventura and throwing her on a floor. After the video aired, Combs apologized, saying, “I was disgusted when I did it.”\u003c/p>\n\u003cp>[aside postid='arts_13956667']The indictment refers to the attack, without naming Ventura, and says Combs tried to bribe a hotel security staffer to stay mum about it.\u003c/p>\n\u003cp>Douglas Wigdor, a lawyer for Ventura, declined to comment Tuesday.\u003c/p>\n\u003cp>Combs and his attorneys denied similar allegations made by others in a string of lawsuits.\u003c/p>\n\u003cp>A woman said Combs raped her two decades ago when she was 17. A music producer sued, saying Combs forced him to have sex with prostitutes. Another woman, April Lampros, said Combs subjected her to “terrifying sexual encounters,” starting when she was a college student in 1994.\u003c/p>\n\u003cp>The AP does not typically name people who say they have been sexually abused unless they come forward publicly, as Ventura and Lampros did.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Combs has been in legal trouble before. Notably, he was acquitted in 2001 of weapons charges related to a Manhattan nightclub shooting two years earlier that injured three people.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His spirits are good. He’s confident,” said the attorney, who said Combs came to New York voluntarily to “engage the court system and start the case.”\u003c/p>\n\u003cp>The indictment describes Combs, the 54-year-old founder of Bad Boy Records, as the head of a criminal enterprise that engaged or attempted to engage in sex trafficking, forced labor, interstate transportation for purposes of prostitution, drug offenses, kidnapping, arson, bribery and obstruction of justice.\u003c/p>\n\u003cp>He’s accused of striking, punching and dragging women, throwing objects and kicking them — and getting his personal assistants, security and household staff to help him hide it all.\u003c/p>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The evidence in this case is incredibly powerful,” prosecutors said in a document seeking Combs’ detention. They said they had interviewed over 50 victims and witnesses and expect the number to grow.\u003c/p>\n\u003cp>Combs and his associates wielded his “power and prestige” to intimidate and lure women into his orbit, “often under the pretense of a romantic relationship,” the indictment says. It says he then would use force, threats and coercion to get the women to engage with male sex workers in the “Freak Offs” — “elaborate and produced sex performances” that Combs arranged, directed, masturbated during and often recorded, creating dozens of videos.\u003c/p>\n\u003cp>He sometimes arranged to fly the women in and ensured their participation by procuring and providing drugs, controlling their careers, leveraging his financial support and using intimidation and violence, according to the indictment.\u003c/p>\n\u003cp>The events could last for days, and Combs and victims would often receive IV fluids to recover from the exertion and drug use, the indictment said. It said his employees facilitated “Freak Offs” by arranging travel, booking hotel rooms, stocking them with such supplies as drugs and baby oil, scheduling the delivery of IV fluids and cleaning the rooms afterward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During a search of Combs’ homes in Miami and Los Angeles this year, law enforcement seized narcotics, videos of the “Freak Offs” and more than 1,000 bottles of baby oil and lubricant, according to prosecutors. They said agents also seized firearms and ammunition, including three AR-15s with defaced serial numbers — two of them, broken into parts, in his bedroom closet in Miami.\u003c/p>\n\u003cp>The indictment portrays Combs as a violent man who choked and shoved people, hit and kicked victims and sometimes dragged them by their hair, causing injuries that often took days or weeks to heal. His employees and associates sometimes witnessed his violence and kept victims from leaving or tracked down those who tried, the indictment said.\u003c/p>\n\u003cp>It alleges that Combs sometimes kept videos of victims engaging in sex acts and used the recordings as “collateral” to ensure the women’s continued obedience and silence. He also exerted control over victims by promising career opportunities, providing and threatening to withhold financial support, dictating how they looked, monitoring their health records and controlling where they lived, according to the indictment.\u003c/p>\n\u003cp>As the threat of criminal charges loomed, Combs and his associates pressured witnesses and victims to stay silent, offering bribes and supplying false narratives of what happened, the indictment says.\u003c/p>\n\u003cp>All of this, prosecutors allege, was happening behind the facade of Combs’ global music, lifestyle and clothing business.\u003c/p>\n\u003cp>“A year ago, Sean Combs stood in Times Square and was handed a key to New York City. Today, he’s been indicted and will face justice,” U.S. Attorney Damian Williams said at a news conference Tuesday. His office is bringing the case.\u003c/p>\n\u003cfigure id=\"attachment_13964397\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg\" alt=\"A Black man stands on a stage holding a microphone in one hand and a gold key mounted to a plaque in the other.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Combs receiving the Key to the City from Mayor Eric Adams in Times Square on Sept. 15, 2023 in New York City. \u003ccite>(Raymond Hall/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Combs returned the key in June after Mayor Eric Adams requested it back.\u003c/p>\n\u003cp>Combs was recognized as one of the most influential figures in hip-hop before a flood of allegations emerged over the past year.\u003c/p>\n\u003cp>In November, Cassie, whose legal name is Casandra Ventura, filed a lawsuit saying he had beaten and raped her for years. She accused Combs of coercing her, and others, into unwanted sex in drug-fueled settings.\u003c/p>\n\u003cp>The suit was settled in one day, but months later, CNN aired hotel security footage showing Combs punching and kicking Ventura and throwing her on a floor. After the video aired, Combs apologized, saying, “I was disgusted when I did it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The indictment refers to the attack, without naming Ventura, and says Combs tried to bribe a hotel security staffer to stay mum about it.\u003c/p>\n\u003cp>Douglas Wigdor, a lawyer for Ventura, declined to comment Tuesday.\u003c/p>\n\u003cp>Combs and his attorneys denied similar allegations made by others in a string of lawsuits.\u003c/p>\n\u003cp>A woman said Combs raped her two decades ago when she was 17. A music producer sued, saying Combs forced him to have sex with prostitutes. Another woman, April Lampros, said Combs subjected her to “terrifying sexual encounters,” starting when she was a college student in 1994.\u003c/p>\n\u003cp>The AP does not typically name people who say they have been sexually abused unless they come forward publicly, as Ventura and Lampros did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Combs has been in legal trouble before. Notably, he was acquitted in 2001 of weapons charges related to a Manhattan nightclub shooting two years earlier that injured three people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-el-grito-de-dolores-in-san-francisco",
"title": "PHOTOS: El Grito de Independencia de México in San Francisco",
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"headTitle": "PHOTOS: El Grito de Independencia de México in San Francisco | KQED",
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"content": "\u003cp>The annual El Grito celebration took place Sunday in San Francisco’s Civic Center Plaza on Sunday, with music, food, dancing, Lucha Libre wrestling and more. \u003c/p>\n\u003cp>A collaboration between the city and the Consulate General of Mexico in San Francisco, El Grito celebrates Mexico’s independence from Spain. The official civic ceremony included the mayor of San Francisco, London Breed, and the Consul General of Mexico Ana Luisa Vallejo Barba. \u003c/p>\n\u003cp>Photographer Estefany Gonzalez was on the scene to capture the celebration’s joy and determination. See photos of the festivities below. \u003c/p>\n\u003cfigure id=\"attachment_13964308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Guerrero, 43, watches dancers perform at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A luchador leaps off the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964320\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nelea Del Toro, 17, left, and Kimberly Lopez, 18, members of Ballet Folklorico Mexicano de Carlos Moreno, pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964316\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Ahumada, 40, wears bandoliers across her chest at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Ahumada traveled from Santa Cruz to attend the event and represent her culture with love and respect. “Representar la cultura con mucho amor y mucho respeto,” Ahumada said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Asociacion Mayab performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964315\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A person in the audience sings along as Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Jauregue, 57, and his dog Rusty pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Jauregue was among the several attendees who brought their dogs to the event. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964331\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Domingo Badillo, center, tears up as Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ana Luisa Vallejo Barba, left, and Mayor London Breed perform the traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964327\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rincon, 29, wears a blue mariachi outfit at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964295\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca Coyolxauqui performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">California State Senator Scott Wiener speaks at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964323\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luchadores duke it out on the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Julio Islas, left, and Natalia Santos, right, attend the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco with their children and Islas’s mother, Linda Islas, on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964302\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ballet Folklorico Mexicano de Carlos Moreno performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A man identifying as “El charro de San Francisco” wears a unique outfit he handcrafted to the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964313\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Rosalia Dzul, 26, left, and Mary Dzul, 30, wear marching eye shadow in the colors of the Méxican flag at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather late into the night at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Hispanic Heritage Month kicked off at San Francisco's Civic Center in a vibrant, colorful celebration. ",
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"title": "PHOTOS: El Grito de Independencia de México in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual El Grito celebration took place Sunday in San Francisco’s Civic Center Plaza on Sunday, with music, food, dancing, Lucha Libre wrestling and more. \u003c/p>\n\u003cp>A collaboration between the city and the Consulate General of Mexico in San Francisco, El Grito celebrates Mexico’s independence from Spain. The official civic ceremony included the mayor of San Francisco, London Breed, and the Consul General of Mexico Ana Luisa Vallejo Barba. \u003c/p>\n\u003cp>Photographer Estefany Gonzalez was on the scene to capture the celebration’s joy and determination. See photos of the festivities below. \u003c/p>\n\u003cfigure id=\"attachment_13964308\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_016-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Guerrero, 43, watches dancers perform at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_032-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A luchador leaps off the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964330\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_038-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964320\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_028-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nelea Del Toro, 17, left, and Kimberly Lopez, 18, members of Ballet Folklorico Mexicano de Carlos Moreno, pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964316\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_024-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964307\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_015A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Ahumada, 40, wears bandoliers across her chest at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Ahumada traveled from Santa Cruz to attend the event and represent her culture with love and respect. “Representar la cultura con mucho amor y mucho respeto,” Ahumada said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_007-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Asociacion Mayab performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964315\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_023-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A person in the audience sings along as Mariachi San Francisco performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_027-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Francisco Jauregue, 57, and his dog Rusty pose for a portrait at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. Jauregue was among the several attendees who brought their dogs to the event. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964331\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_039-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Domingo Badillo, center, tears up as Edna Vazquez performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_042-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ana Luisa Vallejo Barba, left, and Mayor London Breed perform the traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964327\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_035A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Omar Rincon, 29, wears a blue mariachi outfit at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964295\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13964295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_003A-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Danza Azteca Coyolxauqui performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964310\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_018A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">California State Senator Scott Wiener speaks at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_044-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The traditional civic address during the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964323\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_031-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Luchadores duke it out on the lucha libre stage at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_030B-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Married couple Julio Islas, left, and Natalia Santos, right, attend the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco with their children and Islas’s mother, Linda Islas, on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964302\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ballet Folklorico Mexicano de Carlos Moreno performs at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A man identifying as “El charro de San Francisco” wears a unique outfit he handcrafted to the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964313\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_021-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Rosalia Dzul, 26, left, and Mary Dzul, 30, wear marching eye shadow in the colors of the Méxican flag at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13964332\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240916_ElGrito_EG_040A-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Thousands of people gather late into the night at the “El Grito de Independencia de México” celebration at Civic Center Plaza in San Francisco on Sunday, Sept. 15, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "san-quentin-nurse-dee-dee-simon-americas-got-talent",
"title": "The San Quentin Nurse Showing America That She’s Got Talent",
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"headTitle": "The San Quentin Nurse Showing America That She’s Got Talent | KQED",
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"content": "\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>[aside postID='arts_13962094']Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YxmAPxN104o\u003c/p>\n\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>[aside postID='arts_13962624']In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>[aside postID='arts_13926813']Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\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/YxmAPxN104o'\n title='//www.youtube.com/embed/YxmAPxN104o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\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>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
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"content": "\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>[aside postid='arts_13963021']Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>[aside postID='arts_13962857']Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "k-pop-fans-election-voting-g-idle-oakland-neverland",
"title": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season",
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"headTitle": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>On Sunday, hours ahead of (G)I-DLE’s show at the Oakland Arena, fans lined up to exchange concert-related trinkets and photocards, take selfies with each other and practice their dance moves.\u003c/p>\n\u003cp>The five-member girl group — Soyeon, Miyeon, Minnie, Yuqi and Shuhua — has performed in the Bay Area before, but their 2024 I-DOL World Tour stop in Oakland marked their largest Bay Area concert to date.\u003c/p>\n\u003cfigure id=\"attachment_13964020\" class=\"wp-caption aligncenter\" style=\"max-width: 1550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg\" alt=\"\" width=\"1550\" height=\"2000\" class=\"size-full wp-image-13964020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg 1550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-800x1032.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1020x1316.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1190x1536.jpg 1190w\" sizes=\"(max-width: 1550px) 100vw, 1550px\">\u003cfigcaption class=\"wp-caption-text\">Dabs Estanislao holds up a flag of (G)I-DLE member Miyeon at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the most part, K-pop is largely about escapism and creating community, and less about the political concerns of the real world. Still, \u003ca href=\"https://www.theguardian.com/music/2020/jun/24/how-us-k-pop-fans-became-a-political-force-to-be-reckoned-with-blm-donald-trump\">K-pop fans can be famously organized\u003c/a> in election years. \u003c/p>\n\u003cp>We caught up with members of (G)I-DLE’s fandom, known as NEVERLAND, to ask how they got into the K-pop group and how they’re feeling ahead of the election. \u003c/p>\n\u003cfigure id=\"attachment_13964015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Nina Soto, Yoana Navarrete Santos, Julissa Sosa, Alondra Sosa and Yosselin Sandoval, pose for a photo, wearing blue wigs from the (G)I-DLE music video “Wife” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alondra Sosa of Manteca said she’s been keeping up with politics this election year, and has a pretty good idea of who she wants to vote for — though she didn’t feel comfortable naming a candidate. “I just wish more people would go out and vote,” she said. For the concert, she and her friends all dressed in blue wigs and white T-shirts, just like (G)I-DLE in their popular music video for their song “Wife.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nina Soto, one of Sosa’s friends in a blue wig, said what worried her most this election cycle was how people communicate — or don’t communicate — with one another. “The overall thing that concerns us as a nation at the moment is how we’re going to move forward and actually listen to each other,” she said. “We’re fighting each other, not listening. And I think that’s a big issue: not listening.” \u003c/p>\n\u003cfigure id=\"attachment_13964022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1241\" class=\"size-full wp-image-13964022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1536x953.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1920x1191.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Lim holds up a photo of (G)I-DLE member Soyeon from the music video “Allergy” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane Lim, a dedicated 19-year-old NEVERLAND from San Lorenzo, said he was curious how the election would turn out. Lim, a fan of (G)I-DLE since 2021, had recreated one of Soyeon’s iconic outfits from (G)I-DLE’s “Allergy” music video for the concert. He said there weren’t any specific issues he was concerned about this election cycle, but he definitely had an idea of who he hoped would pull ahead in the polls. “I hope Kamala wins, in all honesty,” Lim said. \u003c/p>\n\u003cfigure id=\"attachment_13964021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1246\" class=\"size-full wp-image-13964021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1536x957.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1920x1196.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lindsay Gomez, left, and Katherine Martinez, 16, right, hold up signs for the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Harris was the candidate of interest for first-time Marin County voter Lindsay Gomez, too. “I just turned 18 this year, so I’m like, kind of excited to vote,” she said. “I need to learn more, but I think I might go towards Kamala. I kind of hope she does win, because [the] first female president… that would be really cool for us.” 16-year-old Katherine Martinez, who joined Gomez for the concert, nodded in agreement. \u003c/p>\n\u003cp>This year will not only be Gomez’s first time voting, it will be her mom’s first time voting, too. As for election-year concerns, Gomez said she found herself thinking about the logistics of being able to vote in California. “I’m just hoping my registration went through,” she said. She and her mom are already making plans for Election Day. “We’re both going [to vote] together I think, and I hope that everything works out.” \u003c/p>\n\u003cfigure id=\"attachment_13964024\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Evan Villaflor, Martin Villafuerte and Francis Nario wear queen card costumes, after the song Queencard by (G)I-DLE concert, at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin Villafuerte, dressed in a queen of hearts playing card costume in homage to (G)I-DLE’s popular song “Queencard,” drove nearly two hours from Patterson with friends to see the girl group perform. Villafuerte said he was “not super confident” going into the election, “but that’s how it is every election.” \u003c/p>\n\u003cfigure id=\"attachment_13964018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angel Perez wears a Yuqi graphic tee ahead of the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Angel Perez, a San Jose resident, expressed similar sentiments. Perez, dressed in a custom T-shirt with images of Yuqi, his favorite member (known as a “bias” in K-pop culture) on it, got into K-pop just three months ago when he happened to tap play on a YouTube-generated playlist. His interest in (G)I-DLE has grown over time, but as far as politics goes, “I’m not really following the election like that,” Perez said. He noted he was slightly concerned about the levels of crime happening in his community, but when it comes to voting outcomes, “I just hope for the best,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13964019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1266\" class=\"size-full wp-image-13964019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1920x1215.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mahal Bilaoen and friends hold up handmade crocheted photo holders with (G)I-DLE’s members at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Outside (G)I-DLE's show at the Oakland Arena, fans discussed Kamala, voting rights and bridging the divide.",
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"title": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season | KQED",
"description": "Outside (G)I-DLE's show at the Oakland Arena, fans discussed Kamala, voting rights and bridging the divide.",
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"headline": "Young K-Pop Fans ‘Just Hope for the Best’ in Election Season",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>On Sunday, hours ahead of (G)I-DLE’s show at the Oakland Arena, fans lined up to exchange concert-related trinkets and photocards, take selfies with each other and practice their dance moves.\u003c/p>\n\u003cp>The five-member girl group — Soyeon, Miyeon, Minnie, Yuqi and Shuhua — has performed in the Bay Area before, but their 2024 I-DOL World Tour stop in Oakland marked their largest Bay Area concert to date.\u003c/p>\n\u003cfigure id=\"attachment_13964020\" class=\"wp-caption aligncenter\" style=\"max-width: 1550px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg\" alt=\"\" width=\"1550\" height=\"2000\" class=\"size-full wp-image-13964020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED.jpg 1550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-800x1032.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1020x1316.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-768x991.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-6-KQED-1190x1536.jpg 1190w\" sizes=\"(max-width: 1550px) 100vw, 1550px\">\u003cfigcaption class=\"wp-caption-text\">Dabs Estanislao holds up a flag of (G)I-DLE member Miyeon at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the most part, K-pop is largely about escapism and creating community, and less about the political concerns of the real world. Still, \u003ca href=\"https://www.theguardian.com/music/2020/jun/24/how-us-k-pop-fans-became-a-political-force-to-be-reckoned-with-blm-donald-trump\">K-pop fans can be famously organized\u003c/a> in election years. \u003c/p>\n\u003cp>We caught up with members of (G)I-DLE’s fandom, known as NEVERLAND, to ask how they got into the K-pop group and how they’re feeling ahead of the election. \u003c/p>\n\u003cfigure id=\"attachment_13964015\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964015\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Nina Soto, Yoana Navarrete Santos, Julissa Sosa, Alondra Sosa and Yosselin Sandoval, pose for a photo, wearing blue wigs from the (G)I-DLE music video “Wife” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alondra Sosa of Manteca said she’s been keeping up with politics this election year, and has a pretty good idea of who she wants to vote for — though she didn’t feel comfortable naming a candidate. “I just wish more people would go out and vote,” she said. For the concert, she and her friends all dressed in blue wigs and white T-shirts, just like (G)I-DLE in their popular music video for their song “Wife.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nina Soto, one of Sosa’s friends in a blue wig, said what worried her most this election cycle was how people communicate — or don’t communicate — with one another. “The overall thing that concerns us as a nation at the moment is how we’re going to move forward and actually listen to each other,” she said. “We’re fighting each other, not listening. And I think that’s a big issue: not listening.” \u003c/p>\n\u003cfigure id=\"attachment_13964022\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1241\" class=\"size-full wp-image-13964022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1020x633.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1536x953.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-8-KQED-1920x1191.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Lim holds up a photo of (G)I-DLE member Soyeon from the music video “Allergy” at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane Lim, a dedicated 19-year-old NEVERLAND from San Lorenzo, said he was curious how the election would turn out. Lim, a fan of (G)I-DLE since 2021, had recreated one of Soyeon’s iconic outfits from (G)I-DLE’s “Allergy” music video for the concert. He said there weren’t any specific issues he was concerned about this election cycle, but he definitely had an idea of who he hoped would pull ahead in the polls. “I hope Kamala wins, in all honesty,” Lim said. \u003c/p>\n\u003cfigure id=\"attachment_13964021\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1246\" class=\"size-full wp-image-13964021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-800x498.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1020x635.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-768x478.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1536x957.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-7-KQED-1920x1196.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lindsay Gomez, left, and Katherine Martinez, 16, right, hold up signs for the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Harris was the candidate of interest for first-time Marin County voter Lindsay Gomez, too. “I just turned 18 this year, so I’m like, kind of excited to vote,” she said. “I need to learn more, but I think I might go towards Kamala. I kind of hope she does win, because [the] first female president… that would be really cool for us.” 16-year-old Katherine Martinez, who joined Gomez for the concert, nodded in agreement. \u003c/p>\n\u003cp>This year will not only be Gomez’s first time voting, it will be her mom’s first time voting, too. As for election-year concerns, Gomez said she found herself thinking about the logistics of being able to vote in California. “I’m just hoping my registration went through,” she said. She and her mom are already making plans for Election Day. “We’re both going [to vote] together I think, and I hope that everything works out.” \u003c/p>\n\u003cfigure id=\"attachment_13964024\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Evan Villaflor, Martin Villafuerte and Francis Nario wear queen card costumes, after the song Queencard by (G)I-DLE concert, at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin Villafuerte, dressed in a queen of hearts playing card costume in homage to (G)I-DLE’s popular song “Queencard,” drove nearly two hours from Patterson with friends to see the girl group perform. Villafuerte said he was “not super confident” going into the election, “but that’s how it is every election.” \u003c/p>\n\u003cfigure id=\"attachment_13964018\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-4-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Angel Perez wears a Yuqi graphic tee ahead of the (G)I-DLE concert at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Angel Perez, a San Jose resident, expressed similar sentiments. Perez, dressed in a custom T-shirt with images of Yuqi, his favorite member (known as a “bias” in K-pop culture) on it, got into K-pop just three months ago when he happened to tap play on a YouTube-generated playlist. His interest in (G)I-DLE has grown over time, but as far as politics goes, “I’m not really following the election like that,” Perez said. He noted he was slightly concerned about the levels of crime happening in his community, but when it comes to voting outcomes, “I just hope for the best,” he said. \u003c/p>\n\u003cfigure id=\"attachment_13964019\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1266\" class=\"size-full wp-image-13964019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-800x506.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1536x972.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240908_FANDOMVOTEKPOP-5-KQED-1920x1215.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mahal Bilaoen and friends hold up handmade crocheted photo holders with (G)I-DLE’s members at the Oakland Arena on September 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Linda Ronstadt did not hold back in \u003ca href=\"https://www.facebook.com/100044159483214/photos/1070093821139257/\">an open letter condemning Donald Trump\u003c/a> when she learned that the former president would be speaking at a concert venue named in her honor. \u003c/p>\n\u003cp>“I don’t just deplore his toxic politics, his hatred of women, immigrants and people of color, his criminality, dishonesty and ignorance — although there’s that,” the singer wrote, before singling out Trump’s policy of family separation at the border as a “humanitarian catastrophe.” \u003c/p>\n\u003cp>[aside postID='arts_13960896']The statement by the platinum-selling singer, who lives in San Francisco, comes ahead of Thursday night’s campaign rally at the Linda Ronstadt Music Hall in Tucson, Ronstadt’s hometown, which she described as having “deep Mexican American roots and a joyful, tolerant spirit.”\u003c/p>\n\u003cp>In her sign-off, Ronstadt referred to Trump facing \u003ca href=\"https://19thnews.org/2023/10/donald-trump-associates-sexual-misconduct-allegations/\">multiple allegations of rape and sexual assault\u003c/a>, and \u003ca href=\"https://apnews.com/article/trump-rape-carroll-trial-fe68259a4b98bb3947d42af9ec83d7db\">being found liable for sexual abuse\u003c/a> in a court of law. \u003c/p>\n\u003cp>“Trump first ran for president warning about rapists coming in from Mexico,” Ronstadt wrote. “I’m worried about keeping the rapist out of the White House.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13940378']Ronstadt, an 11-time Grammy winner and Rock and Roll Hall of Fame member, has \u003ca href=\"https://www.azcentral.com/story/entertainment/music/2020/01/03/linda-ronstadt-tells-cnn-donald-trumps-rise-power-like-hitlers/2804817001/\">criticized Trump and his policies\u003c/a> before, comparing his tactics on immigration specifically to those of Adolf Hitler. (Ronstadt has been a \u003ca href=\"https://www.kqed.org/arts/13900041/linda-ronstadts-musical-journey-to-mexico-with-a-bus-of-young-bay-area-singers\">longtime advocate for the Mexican American community\u003c/a>.)\u003c/p>\n\u003cp>In her statement, she wrote that she would prefer to ignore Trump, “but since the building has my name on it, I need to say something.”\u003c/p>\n\u003cp>Read the full statement below. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-scaled.jpg\" alt=\"\" width=\"1263\" height=\"2560\" class=\"aligncenter size-full wp-image-13964146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-scaled.jpg 1263w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-800x1621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-1020x2067.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-160x324.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-768x1556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-758x1536.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-1011x2048.jpg 1011w\" sizes=\"(max-width: 1263px) 100vw, 1263px\">\u003c/p>\n\n",
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"excerpt": "The singer specifically denounced Trump's policy of separating families at the border. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Linda Ronstadt did not hold back in \u003ca href=\"https://www.facebook.com/100044159483214/photos/1070093821139257/\">an open letter condemning Donald Trump\u003c/a> when she learned that the former president would be speaking at a concert venue named in her honor. \u003c/p>\n\u003cp>“I don’t just deplore his toxic politics, his hatred of women, immigrants and people of color, his criminality, dishonesty and ignorance — although there’s that,” the singer wrote, before singling out Trump’s policy of family separation at the border as a “humanitarian catastrophe.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The statement by the platinum-selling singer, who lives in San Francisco, comes ahead of Thursday night’s campaign rally at the Linda Ronstadt Music Hall in Tucson, Ronstadt’s hometown, which she described as having “deep Mexican American roots and a joyful, tolerant spirit.”\u003c/p>\n\u003cp>In her sign-off, Ronstadt referred to Trump facing \u003ca href=\"https://19thnews.org/2023/10/donald-trump-associates-sexual-misconduct-allegations/\">multiple allegations of rape and sexual assault\u003c/a>, and \u003ca href=\"https://apnews.com/article/trump-rape-carroll-trial-fe68259a4b98bb3947d42af9ec83d7db\">being found liable for sexual abuse\u003c/a> in a court of law. \u003c/p>\n\u003cp>“Trump first ran for president warning about rapists coming in from Mexico,” Ronstadt wrote. “I’m worried about keeping the rapist out of the White House.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ronstadt, an 11-time Grammy winner and Rock and Roll Hall of Fame member, has \u003ca href=\"https://www.azcentral.com/story/entertainment/music/2020/01/03/linda-ronstadt-tells-cnn-donald-trumps-rise-power-like-hitlers/2804817001/\">criticized Trump and his policies\u003c/a> before, comparing his tactics on immigration specifically to those of Adolf Hitler. (Ronstadt has been a \u003ca href=\"https://www.kqed.org/arts/13900041/linda-ronstadts-musical-journey-to-mexico-with-a-bus-of-young-bay-area-singers\">longtime advocate for the Mexican American community\u003c/a>.)\u003c/p>\n\u003cp>In her statement, she wrote that she would prefer to ignore Trump, “but since the building has my name on it, I need to say something.”\u003c/p>\n\u003cp>Read the full statement below. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-scaled.jpg\" alt=\"\" width=\"1263\" height=\"2560\" class=\"aligncenter size-full wp-image-13964146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-scaled.jpg 1263w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-800x1621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-1020x2067.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-160x324.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-768x1556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-758x1536.jpg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Ronstadt.Trump_.9.11-1011x2048.jpg 1011w\" sizes=\"(max-width: 1263px) 100vw, 1263px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Taylor Swift’s dominance continued at the MTV Video Music Awards, where she took home seven awards — including the night’s biggest, the trophy for video of the year.\u003c/p>\n\u003cp>In her speech Wednesday night, Swift thanked her “boyfriend, Travis” for being on set of the “Fortnight” music video and cheering her on. Fans rewarded the mention of NFL star Travis Kelce with loud screams.\u003c/p>\n\u003cp>[aside postid='arts_13964057']“Everything this man touches turns to happiness and fun and magic,” she said, before shifting gears to the 2024 presidential election and instructing her fans who are over 18 to register to vote.\u003c/p>\n\u003cp>Swift did, however, avoid discussing Kamala Harris’ presidential bid on stage. On Tuesday night, \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">Swift endorsed the vice president\u003c/a>, moments after Harris’ debate with former president Donald Trump ended.\u003c/p>\n\u003cp>Swift’s awards haul brings her to a career total of 30, tying her and Beyoncé for the title of most-awarded musician in VMA history. Eminem is now the male artist with the most VMAs, at 15.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swift and Post Malone also took home the first televised award of the VMAs for best collaboration, for “Fortnight,” handed to them by Flavor Flav and Olympian Jordan Chiles.\u003c/p>\n\u003cp>Swift started that speech by giving remembrance to everyone who lost their lives and loved ones during 9/11, 23 years ago.\u003c/p>\n\u003cp>“I’ve just been thinking about what happened 23 years ago, everyone who lost a loved one and everyone that we lost and that is the most important thing about today,” she said. “And everything that happens tonight falls behind that.”\u003c/p>\n\u003cp>[aside postid='arts_13963964']She then turned to discussing Malone.\u003c/p>\n\u003cp>“There is a reason Post Malone is everyone in music’s favorite person to collaborate with,” she shifted her attention to him. “It has taken forever for me to get him to stop calling me ma’am.”\u003c/p>\n\u003cp>Chappell Roan won the MTV Video Music Award for best new artist.\u003c/p>\n\u003cp>“I dedicate this to all the drag artists who inspire me,” she said in her speech, while wearing chain mail, reading from a written speech in her diary. “And I dedicate this to queer and trans people who run pop. … Thank you for listening.”\u003c/p>\n\u003cp>Women dominated the award show, no example greater than an imaginative, medieval set from Roan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=65m4u4IxZLg\u003c/p>\n\u003cp>Drag queen Sasha Colby introduced her with “your favorite drag queen’s favorite artist,” a reference to Roan’s now famous Coachella performance, which in turn was inspired by Colby. Real fans no doubt got a kick out of the hyper-referential tidbit.\u003c/p>\n\u003cp>Roan appeared in armor, shooting a lit crossbow at castle gates that stood behind her, burning them in the process. Her dancers were knights, battling each other in incredible choreography as she sang her queer pop hit, “Good Luck, Babe.”\u003c/p>\n\u003cp>The other voice of 2024 pop, Sabrina Carpenter, won the trophy for song of the year for “Espresso.”\u003c/p>\n\u003cp>“This is really special,” she said in her speech, dedicated to her fans. “And thank you to that me-espresso.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I8c-UQ_rEYY\u003c/p>\n\u003cp>Earlier in the night, she brought her summery-pop to the award show, powering through her hit singles “Please Please Please,” “Taste” and “Espresso” while dancing with a moon man and an alien.\u003c/p>\n\u003cp>Katy Perry received the Video Vanguard Award, performing an eight-song medley spanning her career: “Roar,” “E.T.,” “California Gurls,” “Teenage Dream,” “I Kissed a Girl,” “Firework,” and “Lifetimes.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=3XXAMJ_0htg\">I did that all on the first day of my period, can you believe it?\u003c/a>” she joked after accepting the honor from her partner, Orlando Bloom. “There are so many things that have to align to have a long and successful career as an artist. There are no decade long accidents.”\u003c/p>\n\u003cp>She also teased a new song, “I’m His, He’s Mine,” featuring Doechii, which samples the Crystal Waters classic, “Gypsy Woman (La Da Dee La Da Da).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7zrX4NU8YE\u003c/p>\n\u003cp>Previous recipients of the Video Vanguard Award include Shakira, Beyoncé, Minaj, Madonna, Janet Jackson, Jennifer Lopez, Rihanna and Missy Elliott.\u003c/p>\n\u003cp>An army of Slim Shady-lookalikes followed Eminem as he kicked off the VMAs , launching into a medley of his hits “Houdini” and “Somebody Save Me,” featuring a broadcast feed of Jelly Roll. (The song references Jelly Roll’s massive country radio hit, “Save Me.”)\u003c/p>\n\u003cp>[aside postid='arts_13964087']Megan Thee Stallion welcomed the crowd as a first-time host Wednesday night, who joked that the VMAs now stands for the “voluptuous Megan awards.” She later performed.\u003c/p>\n\u003cp>Earlier in the evening, Karol G took over, for a fiery performance of her hit, “Si Antes Te Hubiera Conocido.” Rauw Alejandro brought Puerto Rico to the stage, running through “Touching The Sky,” “DILUIVO” and “Déjame Entrar.”\u003c/p>\n\u003cp>Tyla won the best Afrobeats award.\u003c/p>\n\u003cp>LL COOL J celebrated 40 years of Def Jam Records with Public Enemy’s Flavor Flav and Chuck D.\u003c/p>\n\u003cp>Halsey took it to the suburbs for her new single, “Ego,” channeling garage bands. GloRilla’s “Yeah Glo!” and “TGIF” brought style.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DNwoQODmZUE\u003c/p>\n\u003cp>Blackpink’s LISA, the best K-pop award winner, made her way to the VMA stage for the first time as a soloist, powering through two of her brand-new singles, “New Woman” and “Rockstar.” Shawn Mendes made along-awaited return, debuting a new John Mayer-esq. acoustic number, “Nobody Knows.”\u003c/p>\n\u003cp>[aside postid='arts_13963789']Anitta performed “Paradise,” “Alegria,” and “Savage Funk,” joined by DJ Khaled, Fat Joe and Tiago PZK and won the award for best Latin. Camilla Cabello performed in a panopticon. Benson Boone seemed as stoked as ever to perform his viral hit “Beautiful Things” on the VMAs stage. Lenny Kravitz proved rock isn’t dead with “Are You Gonna Go My Way,” “Human” and finally “Fly,” in which he was joined by Quavo.\u003c/p>\n\u003cp>The 40th VMAs were held at the UBS Arena on New York’s Long Island.\u003c/p>\n\u003cp>The night was stacked with celebrities and featured plenty of Swift, who arrived at the award show wearing a green tartan corset with a matching train and long black leather gloves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Throughout the night, MTV flashed back to history-making across the VMAs’ 40-year-run, including Britney Spears’ albino python and Madonna’s performance of “Like A Virgin.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift’s dominance continued at the MTV Video Music Awards, where she took home seven awards — including the night’s biggest, the trophy for video of the year.\u003c/p>\n\u003cp>In her speech Wednesday night, Swift thanked her “boyfriend, Travis” for being on set of the “Fortnight” music video and cheering her on. Fans rewarded the mention of NFL star Travis Kelce with loud screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Everything this man touches turns to happiness and fun and magic,” she said, before shifting gears to the 2024 presidential election and instructing her fans who are over 18 to register to vote.\u003c/p>\n\u003cp>Swift did, however, avoid discussing Kamala Harris’ presidential bid on stage. On Tuesday night, \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">Swift endorsed the vice president\u003c/a>, moments after Harris’ debate with former president Donald Trump ended.\u003c/p>\n\u003cp>Swift’s awards haul brings her to a career total of 30, tying her and Beyoncé for the title of most-awarded musician in VMA history. Eminem is now the male artist with the most VMAs, at 15.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift and Post Malone also took home the first televised award of the VMAs for best collaboration, for “Fortnight,” handed to them by Flavor Flav and Olympian Jordan Chiles.\u003c/p>\n\u003cp>Swift started that speech by giving remembrance to everyone who lost their lives and loved ones during 9/11, 23 years ago.\u003c/p>\n\u003cp>“I’ve just been thinking about what happened 23 years ago, everyone who lost a loved one and everyone that we lost and that is the most important thing about today,” she said. “And everything that happens tonight falls behind that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She then turned to discussing Malone.\u003c/p>\n\u003cp>“There is a reason Post Malone is everyone in music’s favorite person to collaborate with,” she shifted her attention to him. “It has taken forever for me to get him to stop calling me ma’am.”\u003c/p>\n\u003cp>Chappell Roan won the MTV Video Music Award for best new artist.\u003c/p>\n\u003cp>“I dedicate this to all the drag artists who inspire me,” she said in her speech, while wearing chain mail, reading from a written speech in her diary. “And I dedicate this to queer and trans people who run pop. … Thank you for listening.”\u003c/p>\n\u003cp>Women dominated the award show, no example greater than an imaginative, medieval set from Roan.\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/65m4u4IxZLg'\n title='//www.youtube.com/embed/65m4u4IxZLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drag queen Sasha Colby introduced her with “your favorite drag queen’s favorite artist,” a reference to Roan’s now famous Coachella performance, which in turn was inspired by Colby. Real fans no doubt got a kick out of the hyper-referential tidbit.\u003c/p>\n\u003cp>Roan appeared in armor, shooting a lit crossbow at castle gates that stood behind her, burning them in the process. Her dancers were knights, battling each other in incredible choreography as she sang her queer pop hit, “Good Luck, Babe.”\u003c/p>\n\u003cp>The other voice of 2024 pop, Sabrina Carpenter, won the trophy for song of the year for “Espresso.”\u003c/p>\n\u003cp>“This is really special,” she said in her speech, dedicated to her fans. “And thank you to that me-espresso.”\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/I8c-UQ_rEYY'\n title='//www.youtube.com/embed/I8c-UQ_rEYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier in the night, she brought her summery-pop to the award show, powering through her hit singles “Please Please Please,” “Taste” and “Espresso” while dancing with a moon man and an alien.\u003c/p>\n\u003cp>Katy Perry received the Video Vanguard Award, performing an eight-song medley spanning her career: “Roar,” “E.T.,” “California Gurls,” “Teenage Dream,” “I Kissed a Girl,” “Firework,” and “Lifetimes.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=3XXAMJ_0htg\">I did that all on the first day of my period, can you believe it?\u003c/a>” she joked after accepting the honor from her partner, Orlando Bloom. “There are so many things that have to align to have a long and successful career as an artist. There are no decade long accidents.”\u003c/p>\n\u003cp>She also teased a new song, “I’m His, He’s Mine,” featuring Doechii, which samples the Crystal Waters classic, “Gypsy Woman (La Da Dee La Da Da).”\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/p7zrX4NU8YE'\n title='//www.youtube.com/embed/p7zrX4NU8YE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previous recipients of the Video Vanguard Award include Shakira, Beyoncé, Minaj, Madonna, Janet Jackson, Jennifer Lopez, Rihanna and Missy Elliott.\u003c/p>\n\u003cp>An army of Slim Shady-lookalikes followed Eminem as he kicked off the VMAs , launching into a medley of his hits “Houdini” and “Somebody Save Me,” featuring a broadcast feed of Jelly Roll. (The song references Jelly Roll’s massive country radio hit, “Save Me.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Megan Thee Stallion welcomed the crowd as a first-time host Wednesday night, who joked that the VMAs now stands for the “voluptuous Megan awards.” She later performed.\u003c/p>\n\u003cp>Earlier in the evening, Karol G took over, for a fiery performance of her hit, “Si Antes Te Hubiera Conocido.” Rauw Alejandro brought Puerto Rico to the stage, running through “Touching The Sky,” “DILUIVO” and “Déjame Entrar.”\u003c/p>\n\u003cp>Tyla won the best Afrobeats award.\u003c/p>\n\u003cp>LL COOL J celebrated 40 years of Def Jam Records with Public Enemy’s Flavor Flav and Chuck D.\u003c/p>\n\u003cp>Halsey took it to the suburbs for her new single, “Ego,” channeling garage bands. GloRilla’s “Yeah Glo!” and “TGIF” brought style.\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/DNwoQODmZUE'\n title='//www.youtube.com/embed/DNwoQODmZUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blackpink’s LISA, the best K-pop award winner, made her way to the VMA stage for the first time as a soloist, powering through two of her brand-new singles, “New Woman” and “Rockstar.” Shawn Mendes made along-awaited return, debuting a new John Mayer-esq. acoustic number, “Nobody Knows.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anitta performed “Paradise,” “Alegria,” and “Savage Funk,” joined by DJ Khaled, Fat Joe and Tiago PZK and won the award for best Latin. Camilla Cabello performed in a panopticon. Benson Boone seemed as stoked as ever to perform his viral hit “Beautiful Things” on the VMAs stage. Lenny Kravitz proved rock isn’t dead with “Are You Gonna Go My Way,” “Human” and finally “Fly,” in which he was joined by Quavo.\u003c/p>\n\u003cp>The 40th VMAs were held at the UBS Arena on New York’s Long Island.\u003c/p>\n\u003cp>The night was stacked with celebrities and featured plenty of Swift, who arrived at the award show wearing a green tartan corset with a matching train and long black leather gloves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the night, MTV flashed back to history-making across the VMAs’ 40-year-run, including Britney Spears’ albino python and Madonna’s performance of “Like A Virgin.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Final Bay Area Show for the ‘Qing’ of the Underground (For Now)",
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"headTitle": "A Final Bay Area Show for the ‘Qing’ of the Underground (For Now) | KQED",
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"content": "\u003cfigure id=\"attachment_13964097\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964097\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6.jpeg\" alt=\"Qing Qi showing her gold grill.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6.jpeg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-1024x1536.jpeg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi showing her gold grill. \u003ccite>(Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sept. 14, Albany’s Ivy Room will play host to the final installment of \u003ca href=\"https://www.queensoftheunderground.com/\" target=\"_blank\" rel=\"noopener\">Queens of the Underground\u003c/a>, a monthly event that showcases women and femme hip-hop artists from the Bay Area and beyond.\u003c/p>\n\u003cp>The evening, envisioned as a continuation of last weekend’s Pride festivities in the East Bay, will be headlined by renowned MC \u003ca href=\"https://www.instagram.com/nittyscottmc/\" target=\"_blank\" rel=\"noopener\">Nitty Scott\u003c/a>\u003cspan style=\"font-weight: 400\">. The well-traveled Afro-Latina Buddhist queer artist is known for her clever rhyme schemes and poetic critiques of racist and sexist systems. She’s widely recognized for her influence on the next generation of lyricists in the game. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saturday’s show, hosted by the East Bay’s \u003ca href=\"https://www.instagram.com/iloveallmyfans2/\" target=\"_blank\" rel=\"noopener\">Young Shorty Doowop\u003c/a>, will also feature a slate of talented wordsmiths and music selectors from the Bay Area and Los Angeles, including \u003ca href=\"https://www.instagram.com/ajtheuno/\" target=\"_blank\" rel=\"noopener\">AJ, the One\u003c/a>, \u003ca href=\"https://www.instagram.com/ray_reck/\" target=\"_blank\" rel=\"noopener\">Ray Reck\u003c/a> and more.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13964098\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964098\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1.jpg\" alt=\"\" width=\"853\" height=\"1421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1-800x1333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1-768x1279.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nitty Scott. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And on top of everything, the event is going to be the final Bay Area show for beloved local artist \u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a>.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\"> think I’ve given Bay Area stages all that I can give them,” Qing Qi says during a recent phone call, adding, “You’ve got to release some old things to make space for new things.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While she’s stepping away from doing shows locally, she’s not going anywhere. She’s still going to live in the Bay, and she plans to continue doing shows outside of the region in effort to spread her name. But Qing Qi, \u003ca href=\"https://www.kqed.org/arts/13951286/the-qing-of-queens\" target=\"_blank\" rel=\"noopener\">a multitalented creator\u003c/a> who starred in last year’s film \u003ca href=\"https://www.kqed.org/arts/13937140/donna-and-ally-movie-review-oakland-cousin-shy-quin-qui\" target=\"_blank\" rel=\"noopener\">\u003cem>Donna and Ally\u003c/em>\u003c/a>, says her main goal is to simply expand her artistry beyond rap.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She’s focused on “genre exploration.” When asked what that sounds like, Qing Qi says, “S\u003c/span>\u003cspan style=\"font-weight: 400\">ometimes it sounds a little corny,” with a laugh. It’s a process that has left her questioning the art she makes and even her own identity.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13964101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13964101 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-800x1200.jpeg\" alt=\"Qing Qi on the mic, letting her hair take to the air, during a birthday performance.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70.jpeg 1067w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi on the mic, letting her hair take to the air, during a birthday performance. \u003ccite>(Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finding out new things about yourself will happen when you write from new angles, as Qing Qi is doing. She tells me she recently completed a song with the ever-creative\u003ca href=\"https://www.kqed.org/arts/13955372/not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope\" target=\"_blank\" rel=\"noopener\"> Casey Cope\u003c/a>, where she dips into her poetry bag. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She hasn’t fully removed herself from spitting frenetic bars over hard-hitting high hats and heavy bass lines. “I still do my classic rap features,” Qing Qi says, adding that she has a song coming out with Hitta Slim and Beeda Weeda. \u003c/span>\u003cspan style=\"font-weight: 400\">“But I like to sing.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An evolving artist and a full-time student, Qing Qi says an academic experience earlier this year prompted her to try something new with her creative endeavors. [aside postid='arts_13963964']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I took American musical theater in the spring, and I was like, ‘Oh, this class is going to be so boring,'” says Qing Qi. “And then I realized: \u003cem>This music is so good\u003c/em>.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, she looks at Broadway producers and \u003cem>Disney\u003c/em> soundtrack composers and says, “I want to learn how to do that, but I can’t do that if I’m locked into one genre.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Qing Qi is on the path to \u003c/span>create from an unconfined space. “First it was free the nipple, then it was free the cheeks,” says Qing Qi. “Now it’s free the pen.”\u003c/p>\n\u003cfigure id=\"attachment_13964099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13964099 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-800x1067.png\" alt='Megan \"Lil MC\" Correa' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1020x1360.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-768x1024.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1152x1536.png 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1536x2048.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1.png 1728w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan “Lil MC” Correa \u003ccite>(Courtesy of Megan Correa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Queens of the Underground founder \u003ca href=\"https://www.kqed.org/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop\" target=\"_blank\" rel=\"noopener\">Megan “Lil MC” Correa\u003c/a> says it’s an honor Qing Qi chose her platform for her final Bay Area show for the foreseeable future. “I’m a huge fan of Qing Qi,” says Correa. “I’m a fan of how she uses her space to promote other women, I’m a fan of how she loves to expand [her crew] the Pu Tang Clan to bring out women from all around the Bay Area, and I’m a fan of her sex positivity.” [aside postid='arts_13963954']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Correa describes Qing Qi as “unapologetically herself” (although she hates to use that buzzword). “She’s the epitome of the Bay,” says Correa. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Correa, an educator with \u003ca href=\"https://www.instagram.com/hiphop4change/\" target=\"_blank\" rel=\"noopener\">Hip-Hop For Change\u003c/a> and an MC herself, recently dropped her debut album,\u003ca href=\"https://lilmcsf.bandcamp.com/album/flex-maquina\">\u003cem> Flex Maquina\u003c/em>\u003c/a>, on Bandcamp, and it’ll hit other platforms the first week of October. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Correa says that after this weekend’s show, the Queens of the Underground event series will take a hiatus before making a return in March with a Women’s History Month show at Fluid 510. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The final Queens of the Underground event of the year is happening Sept. 14 at the Ivy Room in Albany. \u003ca href=\"https://www.venuepilot.co/events/108145/orders/new\" target=\"_blank\" rel=\"noopener\">Tickets and details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"title": "A Final Bay Area Show for the ‘Qing’ of the Underground (For Now) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13964097\" class=\"wp-caption aligncenter\" style=\"max-width: 1067px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964097\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6.jpeg\" alt=\"Qing Qi showing her gold grill.\" width=\"1067\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6.jpeg 1067w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/QQ-3_12_23_6-1024x1536.jpeg 1024w\" sizes=\"(max-width: 1067px) 100vw, 1067px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi showing her gold grill. \u003ccite>(Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Sept. 14, Albany’s Ivy Room will play host to the final installment of \u003ca href=\"https://www.queensoftheunderground.com/\" target=\"_blank\" rel=\"noopener\">Queens of the Underground\u003c/a>, a monthly event that showcases women and femme hip-hop artists from the Bay Area and beyond.\u003c/p>\n\u003cp>The evening, envisioned as a continuation of last weekend’s Pride festivities in the East Bay, will be headlined by renowned MC \u003ca href=\"https://www.instagram.com/nittyscottmc/\" target=\"_blank\" rel=\"noopener\">Nitty Scott\u003c/a>\u003cspan style=\"font-weight: 400\">. The well-traveled Afro-Latina Buddhist queer artist is known for her clever rhyme schemes and poetic critiques of racist and sexist systems. She’s widely recognized for her influence on the next generation of lyricists in the game. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saturday’s show, hosted by the East Bay’s \u003ca href=\"https://www.instagram.com/iloveallmyfans2/\" target=\"_blank\" rel=\"noopener\">Young Shorty Doowop\u003c/a>, will also feature a slate of talented wordsmiths and music selectors from the Bay Area and Los Angeles, including \u003ca href=\"https://www.instagram.com/ajtheuno/\" target=\"_blank\" rel=\"noopener\">AJ, the One\u003c/a>, \u003ca href=\"https://www.instagram.com/ray_reck/\" target=\"_blank\" rel=\"noopener\">Ray Reck\u003c/a> and more.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13964098\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964098\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1.jpg\" alt=\"\" width=\"853\" height=\"1421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1-800x1333.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1-160x267.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-2-1-768x1279.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Nitty Scott. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And on top of everything, the event is going to be the final Bay Area show for beloved local artist \u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a>.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\"> think I’ve given Bay Area stages all that I can give them,” Qing Qi says during a recent phone call, adding, “You’ve got to release some old things to make space for new things.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While she’s stepping away from doing shows locally, she’s not going anywhere. She’s still going to live in the Bay, and she plans to continue doing shows outside of the region in effort to spread her name. But Qing Qi, \u003ca href=\"https://www.kqed.org/arts/13951286/the-qing-of-queens\" target=\"_blank\" rel=\"noopener\">a multitalented creator\u003c/a> who starred in last year’s film \u003ca href=\"https://www.kqed.org/arts/13937140/donna-and-ally-movie-review-oakland-cousin-shy-quin-qui\" target=\"_blank\" rel=\"noopener\">\u003cem>Donna and Ally\u003c/em>\u003c/a>, says her main goal is to simply expand her artistry beyond rap.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She’s focused on “genre exploration.” When asked what that sounds like, Qing Qi says, “S\u003c/span>\u003cspan style=\"font-weight: 400\">ometimes it sounds a little corny,” with a laugh. It’s a process that has left her questioning the art she makes and even her own identity.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13964101\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13964101 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-800x1200.jpeg\" alt=\"Qing Qi on the mic, letting her hair take to the air, during a birthday performance.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Qing-qi-bday-_70.jpeg 1067w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi on the mic, letting her hair take to the air, during a birthday performance. \u003ccite>(Miss Lopez Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finding out new things about yourself will happen when you write from new angles, as Qing Qi is doing. She tells me she recently completed a song with the ever-creative\u003ca href=\"https://www.kqed.org/arts/13955372/not-even-stolen-catalytic-converters-can-slow-down-rapper-casey-cope\" target=\"_blank\" rel=\"noopener\"> Casey Cope\u003c/a>, where she dips into her poetry bag. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She hasn’t fully removed herself from spitting frenetic bars over hard-hitting high hats and heavy bass lines. “I still do my classic rap features,” Qing Qi says, adding that she has a song coming out with Hitta Slim and Beeda Weeda. \u003c/span>\u003cspan style=\"font-weight: 400\">“But I like to sing.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An evolving artist and a full-time student, Qing Qi says an academic experience earlier this year prompted her to try something new with her creative endeavors. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I took American musical theater in the spring, and I was like, ‘Oh, this class is going to be so boring,'” says Qing Qi. “And then I realized: \u003cem>This music is so good\u003c/em>.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, she looks at Broadway producers and \u003cem>Disney\u003c/em> soundtrack composers and says, “I want to learn how to do that, but I can’t do that if I’m locked into one genre.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Qing Qi is on the path to \u003c/span>create from an unconfined space. “First it was free the nipple, then it was free the cheeks,” says Qing Qi. “Now it’s free the pen.”\u003c/p>\n\u003cfigure id=\"attachment_13964099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13964099 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-800x1067.png\" alt='Megan \"Lil MC\" Correa' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1020x1360.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-768x1024.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1152x1536.png 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1536x2048.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1.png 1728w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan “Lil MC” Correa \u003ccite>(Courtesy of Megan Correa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Queens of the Underground founder \u003ca href=\"https://www.kqed.org/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop\" target=\"_blank\" rel=\"noopener\">Megan “Lil MC” Correa\u003c/a> says it’s an honor Qing Qi chose her platform for her final Bay Area show for the foreseeable future. “I’m a huge fan of Qing Qi,” says Correa. “I’m a fan of how she uses her space to promote other women, I’m a fan of how she loves to expand [her crew] the Pu Tang Clan to bring out women from all around the Bay Area, and I’m a fan of her sex positivity.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Correa describes Qing Qi as “unapologetically herself” (although she hates to use that buzzword). “She’s the epitome of the Bay,” says Correa. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Correa, an educator with \u003ca href=\"https://www.instagram.com/hiphop4change/\" target=\"_blank\" rel=\"noopener\">Hip-Hop For Change\u003c/a> and an MC herself, recently dropped her debut album,\u003ca href=\"https://lilmcsf.bandcamp.com/album/flex-maquina\">\u003cem> Flex Maquina\u003c/em>\u003c/a>, on Bandcamp, and it’ll hit other platforms the first week of October. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Correa says that after this weekend’s show, the Queens of the Underground event series will take a hiatus before making a return in March with a Women’s History Month show at Fluid 510. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The final Queens of the Underground event of the year is happening Sept. 14 at the Ivy Room in Albany. \u003ca href=\"https://www.venuepilot.co/events/108145/orders/new\" target=\"_blank\" rel=\"noopener\">Tickets and details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "frankie-beverly-maze-dead-at-77",
"title": "Frankie Beverly, R&B and Funk Legend, Dies at 77",
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"headTitle": "Frankie Beverly, R&B and Funk Legend, Dies at 77 | KQED",
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"content": "\u003cp>Frankie Beverly, a funk and R&B innovator, singer, songwriter, producer and founder of the band Maze, died Tuesday. He was 77.\u003c/p>\n\u003cp>Beverly’s death was confirmed by his family in a post via the band’s Facebook and \u003ca href=\"https://www.instagram.com/frankiebeverlyandmaze/?utm_source=ig_embed&ig_rid=5b41bb06-9387-4ce3-9a22-2ff3dbad656e\">\u003cu>Instagram\u003c/u>\u003c/a> accounts: “Grieving the loss of a loved one is a deeply personal and emotional experience,” the announcement reads. “This period is one of healing, and your respect for our need for solitude is appreciated as we honor the memory of our beloved Howard Stanley Beverly known to the world as Frankie Beverly.”\u003c/p>\n\u003cp>Born in Philadelphia in 1946, Beverly found his voice singing in church, and formed many R&B and doo-wop groups throughout the 1960s before refining his sound and founding Raw Soul, later renamed Maze, in 1970. The funk band, made up of highly skilled live instrumentalists and supporting vocalists, tied together with Beverly’s strong, smooth lead vocals as the constant, got its big break after relocating from the East Coast to San Francisco in 1971 and being invited by Motown giant Marvin Gaye on tour as his opening act.\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/VfVjdv6ttE8\" title=\"YouTube video player\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/div>\n\u003c/figure>\n\u003cp>In 1977, the band released its debut album, \u003cem>Maze featuring Frankie Beverly, \u003c/em>and gained prominence for songs like the slinky and euphoric “\u003ca href=\"https://www.youtube.com/watch?v=VfVjdv6ttE8\">\u003cu>Happy Feelin’s\u003c/u>\u003c/a>.” From the time of the band’s debut until the 1990s, Maze proved to be a reliable source for quiet storm and R&B hits, including “\u003ca href=\"https://www.youtube.com/watch?v=Fa3LTtBisiA\">\u003cu>Golden Time of Day\u003c/u>\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=RGKODhMyw20\">\u003cu>Joy & Pain\u003c/u>\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=WoFt3_m76eg\">\u003cu>We Are One\u003c/u>\u003c/a>.” But it found its true calling card outside the studio, through exuberant live performances that Beverly called his personal priority.\u003c/p>\n\u003cp>“That is unquestionably the favorite part of this whole thing to me. I think there’s not a doubt that whatever we do and whatever people like about us — I think mostly they like what they see live,” Beverly \u003ca href=\"https://www.npr.org/2005/07/01/4725986/frankie-beverly-the-soul-of-maze\">\u003cu>told NPR\u003c/u>\u003c/a> in 2005. “When you’re cookin’, it starts cookin’. It doesn’t matter how many people is in the room. It’s just a special thing. It’s probably the most powerful form of art.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1981, Beverly and Maze released what would be hailed by some as an unofficial Black national anthem. “\u003ca href=\"https://www.youtube.com/watch?v=y4854yQ1sHc\">\u003cu>Before I Let Go\u003c/u>\u003c/a>,” arguably the most sincere and jovial breakup song in pop history, appears on the band’s first live album, \u003cem>Live in New Orleans\u003c/em>; it’s a potent distillation of Beverly’s star power, matching a buoyant groove with his dulcet singing and raw admissions of longing.\u003c/p>\n\u003cp>The track peaked at No. 13 on \u003cem>Billboard\u003c/em>’s R&B chart and has since become synonymous with cookouts, block parties and other golden-hour gatherings. In 2019, Beyoncé \u003ca href=\"https://www.youtube.com/watch?v=PtqbTffx0bg\">\u003cu>dropped a cover\u003c/u>\u003c/a> of “Before I Let Go” in celebration of the release of her documentary film, \u003cem>Homecoming, \u003c/em>interpolating the classic with other ‘80s staples like Cameo’s “Candy,” breathing new life into the hit for future generations.\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/y4854yQ1sHc\" title=\"YouTube video player\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/div>\n\u003c/figure>\n\u003cp>In the Bay Area, Beverly regularly appeared with Maze at Oakland’s Paramount Theater — for a time, almost every November. He also had a long-term relationship with the award-winning KRON-4 news anchor Pam Moore.\u003c/p>\n\u003cp>Earlier this year, Beverly revealed he was set to retire from music, and announced that he and Maze were hitting the road one last time, including a closing-night slot in downtown San Jose at San Jose Jazz Summer Fest. From March to July, the group brought its “I Wanna Thank You” Farewell Tour to select U.S. cities, with guest appearances from Chaka Khan and El DeBarge.\u003c/p>\n\u003cp>For his part, Beverly seemed resolute that the group and its music would carry on in his absence.\u003c/p>\n\u003cp>“Thank you so much for the support given to me for over 50 years as I pass on the lead vocalist torch to Tony Lindsay,” Beverly told \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/frankie-beverly-maze-announces-farewell-tour-1235607859/\">\u003cem>\u003cu>Billboard\u003c/u>\u003c/em>\u003c/a> at the time of the tour announcement. “The band will continue on as Maze Honoring Frankie Beverly. It’s been a great ride through the decades. Let the music of my legacy continue.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Meline contributed additional reporting. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Frankie Beverly, a funk and R&B innovator, singer, songwriter, producer and founder of the band Maze, died Tuesday. He was 77.\u003c/p>\n\u003cp>Beverly’s death was confirmed by his family in a post via the band’s Facebook and \u003ca href=\"https://www.instagram.com/frankiebeverlyandmaze/?utm_source=ig_embed&ig_rid=5b41bb06-9387-4ce3-9a22-2ff3dbad656e\">\u003cu>Instagram\u003c/u>\u003c/a> accounts: “Grieving the loss of a loved one is a deeply personal and emotional experience,” the announcement reads. “This period is one of healing, and your respect for our need for solitude is appreciated as we honor the memory of our beloved Howard Stanley Beverly known to the world as Frankie Beverly.”\u003c/p>\n\u003cp>Born in Philadelphia in 1946, Beverly found his voice singing in church, and formed many R&B and doo-wop groups throughout the 1960s before refining his sound and founding Raw Soul, later renamed Maze, in 1970. The funk band, made up of highly skilled live instrumentalists and supporting vocalists, tied together with Beverly’s strong, smooth lead vocals as the constant, got its big break after relocating from the East Coast to San Francisco in 1971 and being invited by Motown giant Marvin Gaye on tour as his opening act.\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/VfVjdv6ttE8\" title=\"YouTube video player\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/div>\n\u003c/figure>\n\u003cp>In 1977, the band released its debut album, \u003cem>Maze featuring Frankie Beverly, \u003c/em>and gained prominence for songs like the slinky and euphoric “\u003ca href=\"https://www.youtube.com/watch?v=VfVjdv6ttE8\">\u003cu>Happy Feelin’s\u003c/u>\u003c/a>.” From the time of the band’s debut until the 1990s, Maze proved to be a reliable source for quiet storm and R&B hits, including “\u003ca href=\"https://www.youtube.com/watch?v=Fa3LTtBisiA\">\u003cu>Golden Time of Day\u003c/u>\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=RGKODhMyw20\">\u003cu>Joy & Pain\u003c/u>\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=WoFt3_m76eg\">\u003cu>We Are One\u003c/u>\u003c/a>.” But it found its true calling card outside the studio, through exuberant live performances that Beverly called his personal priority.\u003c/p>\n\u003cp>“That is unquestionably the favorite part of this whole thing to me. I think there’s not a doubt that whatever we do and whatever people like about us — I think mostly they like what they see live,” Beverly \u003ca href=\"https://www.npr.org/2005/07/01/4725986/frankie-beverly-the-soul-of-maze\">\u003cu>told NPR\u003c/u>\u003c/a> in 2005. “When you’re cookin’, it starts cookin’. It doesn’t matter how many people is in the room. It’s just a special thing. It’s probably the most powerful form of art.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1981, Beverly and Maze released what would be hailed by some as an unofficial Black national anthem. “\u003ca href=\"https://www.youtube.com/watch?v=y4854yQ1sHc\">\u003cu>Before I Let Go\u003c/u>\u003c/a>,” arguably the most sincere and jovial breakup song in pop history, appears on the band’s first live album, \u003cem>Live in New Orleans\u003c/em>; it’s a potent distillation of Beverly’s star power, matching a buoyant groove with his dulcet singing and raw admissions of longing.\u003c/p>\n\u003cp>The track peaked at No. 13 on \u003cem>Billboard\u003c/em>’s R&B chart and has since become synonymous with cookouts, block parties and other golden-hour gatherings. In 2019, Beyoncé \u003ca href=\"https://www.youtube.com/watch?v=PtqbTffx0bg\">\u003cu>dropped a cover\u003c/u>\u003c/a> of “Before I Let Go” in celebration of the release of her documentary film, \u003cem>Homecoming, \u003c/em>interpolating the classic with other ‘80s staples like Cameo’s “Candy,” breathing new life into the hit for future generations.\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\n\u003cdiv class=\"wp-block-embed__wrapper\">\u003ciframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/y4854yQ1sHc\" title=\"YouTube video player\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/div>\n\u003c/figure>\n\u003cp>In the Bay Area, Beverly regularly appeared with Maze at Oakland’s Paramount Theater — for a time, almost every November. He also had a long-term relationship with the award-winning KRON-4 news anchor Pam Moore.\u003c/p>\n\u003cp>Earlier this year, Beverly revealed he was set to retire from music, and announced that he and Maze were hitting the road one last time, including a closing-night slot in downtown San Jose at San Jose Jazz Summer Fest. From March to July, the group brought its “I Wanna Thank You” Farewell Tour to select U.S. cities, with guest appearances from Chaka Khan and El DeBarge.\u003c/p>\n\u003cp>For his part, Beverly seemed resolute that the group and its music would carry on in his absence.\u003c/p>\n\u003cp>“Thank you so much for the support given to me for over 50 years as I pass on the lead vocalist torch to Tony Lindsay,” Beverly told \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/frankie-beverly-maze-announces-farewell-tour-1235607859/\">\u003cem>\u003cu>Billboard\u003c/u>\u003c/em>\u003c/a> at the time of the tour announcement. “The band will continue on as Maze Honoring Frankie Beverly. It’s been a great ride through the decades. Let the music of my legacy continue.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Meline contributed additional reporting. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>September has arrived, kicking off annual celebrations for Hispanic Heritage Month (Sept. 15–Oct. 15) commemorating the independence days of various Latin American countries. \u003c/p>\n\u003cp>Often billed as Fiestas Patrias, the community events typically feature musical and dance performances along with food and merchandise vendors. \u003c/p>\n\u003cp>This year, organizers in Richmond and San Pablo have teamed up for a parade stretching through both East Bay cities. In San Francisco, members of the Mexican diaspora will gather in front of City Hall for the annual El Grito celebration that commemorates the historic call for independence. \u003c/p>\n\u003cp>Here is a sampling of events throughout the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13964065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at El Grito de Independencia de México in 2023, located in San Francisco’s Civic Center Plaza. \u003ccite>(El Grito SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://elgritosf.com/en/home/\">Grito de Independencia de México\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 4–9 p.m.\u003cbr>\nWHERE: Civic Center Plaza, 335 McAllister St., San Francisco\u003cbr>\nWHAT: Activities, music, mariachi, ballet folklórico performances, lucha libre, a night market and food. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Fiestas Patrias Redwood City\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 3–8 p.m.\u003cbr>\nWHERE: Courthouse Square, 2200 Broadway, Redwood City\u003cbr>\nWHAT: Live music and entertainment, authentic Mexican food, arts and crafts vendors, and a traditional flag ceremony conducted by Consul General de Mexico. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://solanoaidscoalition.org/calendar\">Fiestas Patrias in Vallejo\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.–5 p.m.\u003cbr>\nWHERE: 200 block of Georgia St., Vallejo\u003cbr>\nWHAT: Celebration of Mexican Independence Day and the independence of other Latin American countries. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity\">Richmond and San Pablo Latin American Independence Day Parade\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.\u003cbr>\nWHERE: The parade route will start from the intersection of 23rd Street and Barrett Avenue in Richmond, and proceed north along 23rd Street to San Pablo Avenue in San Pablo.\u003cbr>\nWHAT: A celebration to honor the diverse Latin American communities of both cities, bringing together residents of all backgrounds.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-24/\">Fiesta de Independencia\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–7 p.m.\u003cbr>\nWHERE: Luther Burbank Center for the Arts, 24 Mark West Springs Road, Santa Rosa\u003cbr>\nWHAT: Sonoma County’s largest Hispanic Heritage Month festival, with music, food, games, ballet folklórico, mariachi, a lowrider car show and more. Free.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.comitedefiestaspatrias.org/\">Mexican Independence Day Celebration\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–9 p.m.\u003cbr>\nWHERE: San Jose City Hall, 200 E. Santa Clara St., San Jose\u003cbr>\nWHAT: Food, crafts, live music, and other performances celebrating Mexican culture and traditions. El Grito, a reenactment of Mexico’s historic call for independence, is scheduled to perform at 7:30 p.m. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://unitycouncil.org/festival-latino/\">Festival Latino\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, Noon–5 p.m.\u003cbr>\nWHERE: Todos Santos Plaza, 2175 Willow Pass Road, Concord\u003cbr>\nWHAT: Unity Council’s 3rd Annual Festival Latino is a free, outdoor festival featuring live music, games, ballet folklórico and Latin American artisans. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/afro-latinx-festival-iii-tickets-991387565897\">Afro Latinx Concert Series Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 21, Oct. 5 and Oct. 12\u003cbr>\nWHERE: Ruth Williams Opera House, 4705 3rd St., San Francisco\u003cbr>\nWHAT: A celebration of Afro-Latinx culture and music consisting of three concerts, hosted by Gina Madrid. The artist lineup includes Chuchito Valdés, La Dame Blanche, Oscar Ly and Rumbalu, and DJ Leydis. Tickets range in price from $18–$75 along with a “pay what you want” option. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/join-us-latinx-engineering-day\">Latinx+ Engineering Day at the Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 28, 10 a.m.–5 p.m.\u003cbr>\nWHERE: The Exploratorium, Pier 15, San Francisco\u003cbr>\nWHAT: Visitors of all ages are invited to explore science, technology, engineering, and mathematics while learning about diverse pathways into STEM careers. The event will include interactive activities, hands-on exhibits, and a panel of professionals working in STEM fields.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ticketon.com/en/event/gran-festival-viva-nicaragua-newark-ca-2024-09-22-zrq744wuntzv\">Viva Nicaragua Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 29, 10:30 a.m.\u003cbr>\nWHERE: Swiss Park, 5911 Mowry Ave., Newark\u003cbr>\nWHAT: An afternoon of tradition, culture, and music. Performers include La Cuneta, Carlos Mejia Godoy, Banda Blanca and Marimba Flor de Pino. Tickets are $30 for ages 10 and up. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September has arrived, kicking off annual celebrations for Hispanic Heritage Month (Sept. 15–Oct. 15) commemorating the independence days of various Latin American countries. \u003c/p>\n\u003cp>Often billed as Fiestas Patrias, the community events typically feature musical and dance performances along with food and merchandise vendors. \u003c/p>\n\u003cp>This year, organizers in Richmond and San Pablo have teamed up for a parade stretching through both East Bay cities. In San Francisco, members of the Mexican diaspora will gather in front of City Hall for the annual El Grito celebration that commemorates the historic call for independence. \u003c/p>\n\u003cp>Here is a sampling of events throughout the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13964065\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13964065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/2023-Consul-Gral-Mex-Grito-de-Indep-SF-City-Hall-258-2-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at El Grito de Independencia de México in 2023, located in San Francisco’s Civic Center Plaza. \u003ccite>(El Grito SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003ca href=\"https://elgritosf.com/en/home/\">Grito de Independencia de México\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 4–9 p.m.\u003cbr>\nWHERE: Civic Center Plaza, 335 McAllister St., San Francisco\u003cbr>\nWHAT: Activities, music, mariachi, ballet folklórico performances, lucha libre, a night market and food. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.redwoodcity.org/residents/redwood-city-events/cultural/fiestas-patrias\">Fiestas Patrias Redwood City\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 3–8 p.m.\u003cbr>\nWHERE: Courthouse Square, 2200 Broadway, Redwood City\u003cbr>\nWHAT: Live music and entertainment, authentic Mexican food, arts and crafts vendors, and a traditional flag ceremony conducted by Consul General de Mexico. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://solanoaidscoalition.org/calendar\">Fiestas Patrias in Vallejo\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.–5 p.m.\u003cbr>\nWHERE: 200 block of Georgia St., Vallejo\u003cbr>\nWHAT: Celebration of Mexican Independence Day and the independence of other Latin American countries. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/CincoDeMayoPeaceAndUnity\">Richmond and San Pablo Latin American Independence Day Parade\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 14, 10 a.m.\u003cbr>\nWHERE: The parade route will start from the intersection of 23rd Street and Barrett Avenue in Richmond, and proceed north along 23rd Street to San Pablo Avenue in San Pablo.\u003cbr>\nWHAT: A celebration to honor the diverse Latin American communities of both cities, bringing together residents of all backgrounds.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://lutherburbankcenter.org/event/fiesta-de-independencia-24/\">Fiesta de Independencia\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–7 p.m.\u003cbr>\nWHERE: Luther Burbank Center for the Arts, 24 Mark West Springs Road, Santa Rosa\u003cbr>\nWHAT: Sonoma County’s largest Hispanic Heritage Month festival, with music, food, games, ballet folklórico, mariachi, a lowrider car show and more. Free.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.comitedefiestaspatrias.org/\">Mexican Independence Day Celebration\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, 1–9 p.m.\u003cbr>\nWHERE: San Jose City Hall, 200 E. Santa Clara St., San Jose\u003cbr>\nWHAT: Food, crafts, live music, and other performances celebrating Mexican culture and traditions. El Grito, a reenactment of Mexico’s historic call for independence, is scheduled to perform at 7:30 p.m. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://unitycouncil.org/festival-latino/\">Festival Latino\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 15, Noon–5 p.m.\u003cbr>\nWHERE: Todos Santos Plaza, 2175 Willow Pass Road, Concord\u003cbr>\nWHAT: Unity Council’s 3rd Annual Festival Latino is a free, outdoor festival featuring live music, games, ballet folklórico and Latin American artisans. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/afro-latinx-festival-iii-tickets-991387565897\">Afro Latinx Concert Series Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 21, Oct. 5 and Oct. 12\u003cbr>\nWHERE: Ruth Williams Opera House, 4705 3rd St., San Francisco\u003cbr>\nWHAT: A celebration of Afro-Latinx culture and music consisting of three concerts, hosted by Gina Madrid. The artist lineup includes Chuchito Valdés, La Dame Blanche, Oscar Ly and Rumbalu, and DJ Leydis. Tickets range in price from $18–$75 along with a “pay what you want” option. \u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.exploratorium.edu/visit/calendar/join-us-latinx-engineering-day\">Latinx+ Engineering Day at the Exploratorium\u003c/a>\u003c/strong>\u003cbr>\nWHEN: Sept. 28, 10 a.m.–5 p.m.\u003cbr>\nWHERE: The Exploratorium, Pier 15, San Francisco\u003cbr>\nWHAT: Visitors of all ages are invited to explore science, technology, engineering, and mathematics while learning about diverse pathways into STEM careers. The event will include interactive activities, hands-on exhibits, and a panel of professionals working in STEM fields.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://ticketon.com/en/event/gran-festival-viva-nicaragua-newark-ca-2024-09-22-zrq744wuntzv\">Viva Nicaragua Festival\u003c/a> \u003c/strong>\u003cbr>\nWHEN: Sept. 29, 10:30 a.m.\u003cbr>\nWHERE: Swiss Park, 5911 Mowry Ave., Newark\u003cbr>\nWHAT: An afternoon of tradition, culture, and music. Performers include La Cuneta, Carlos Mejia Godoy, Banda Blanca and Marimba Flor de Pino. Tickets are $30 for ages 10 and up. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was reported for \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">K Onda KQED\u003c/a>, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift Endorses Kamala Harris for President After Debate",
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"content": "\u003cp>Taylor Swift, one of the music industry’s biggest stars, endorsed Kamala Harris for president shortly after the presidential debate ended.\u003c/p>\n\u003cp>“I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos,” Swift \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">wrote late Tuesday in an Instagram post\u003c/a>, which included a link to a voter registration website.\u003c/p>\n\u003cp>Swift also praised Harris’ running mate Tim Walz, writing that he “has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”\u003c/p>\n\u003cp>[aside postID='arts_13963687']Swift has a dedicated following among young women, a key demographic in the November election, and her latest tour has generated more than $1 billion in ticket sales. In a half hour, the post received more than 2.3 million likes.\u003c/p>\n\u003cp>She included a picture of herself holding her cat Benjamin Button, and she signed the message “Childless Cat Lady.” The remark is a reference to three-year-old comments made by JD Vance, Donald Trump’s running mate, about women without children not having an equal stake in the country’s future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Harris senior campaign official said the endorsement was not coordinated with the campaign. Tim Walz, Harris’ running mate, appeared to learn about the endorsement in the middle of a live interview on MSNBC. As Rachel Maddow read the text, Walz broke into a smile and patted his chest.\u003c/p>\n\u003cp>“That was eloquent. And it was clear,” Walz said. “And that’s the kind of courage we need in America to stand up.”\u003c/p>\n\u003cfigure id=\"attachment_13951850\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg\" alt=\"Taylor Swift is photographed leaning forward in a crowd, wearing a red football jersey and looking puzzled.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13951850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift and Donna Kelce look on before the game between the Kansas City Chiefs and the Denver Broncos at GEHA Field at Arrowhead Stadium on Oct. 12, 2023, in Kansas City, Missouri. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift wrote that her endorsement was partially prompted by Trump’s decision to post artificial intelligence-generated pictures suggesting that she had endorsed him. One showed Swift dressed as Uncle Sam, and the text said “Taylor wants YOU to VOTE for DONALD TRUMP.”\u003c/p>\n\u003cp>Trump’s posts “brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter,” Swift wrote. She added that “I’ve done my research, and I’ve made my choice.”\u003c/p>\n\u003cp>Trump said Wednesday that Swift’s move “was just a question of time.” He told \u003cem>Fox & Friends\u003c/em> that Swift is “a very liberal person” who “seems to always endorse a Democrat and she’ll probably pay a price in the marketplace.”\u003c/p>\n\u003cp>In 2020, she supported Democrat Joe Biden, and she cheered for Harris in her debate against then-Vice President Mike Pence. She also was openly critical of Trump, saying he had stoked “the fires of white supremacy and racism.”\u003c/p>\n\u003cp>[aside postID='news_11999092']Swift is a popular figure nationwide, but especially among Democrats. An October 2023 Fox News poll found that 55% of voters overall, including 68% of Democrats, said they had a favorable view of Swift. Republicans were divided, with 43% having a favorable opinion and 45% an unfavorable one.\u003c/p>\n\u003cp>AP VoteCast suggests that a partisan divide on Swift was apparent as early as 2018. That’s the year Swift made her first political endorsement, supporting Tennessee Democrat Phil Bredesen for Senate over Republican Marsha Blackburn.\u003c/p>\n\u003cp>VoteCast found that among Tennessee voters that year, 55% of Democrats and just 19% of Republicans said they had a favorable opinion of Swift. Blackburn won by a comfortable margin in the deep red state.\u003c/p>\n\u003cp>Swift is the leading nominee at Wednesday’s MTV Video Music Awards. While it’s unclear whether Swift will attend the show in New York, she could use any acceptance speeches to elaborate on her support of Harris.\u003c/p>\n\u003cp>The event was shifted a day later to accommodate Tuesday’s debate. MTV has a long history of encouraging voter participation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Jill Colvin in Philadelphia, Linley Sanders in Washington and Anthony McCartney in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Calling Harris a 'warrior' and a 'gifted leader,' Swift denounced Trump's lie that she had endorsed him.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift, one of the music industry’s biggest stars, endorsed Kamala Harris for president shortly after the presidential debate ended.\u003c/p>\n\u003cp>“I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos,” Swift \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">wrote late Tuesday in an Instagram post\u003c/a>, which included a link to a voter registration website.\u003c/p>\n\u003cp>Swift also praised Harris’ running mate Tim Walz, writing that he “has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift has a dedicated following among young women, a key demographic in the November election, and her latest tour has generated more than $1 billion in ticket sales. In a half hour, the post received more than 2.3 million likes.\u003c/p>\n\u003cp>She included a picture of herself holding her cat Benjamin Button, and she signed the message “Childless Cat Lady.” The remark is a reference to three-year-old comments made by JD Vance, Donald Trump’s running mate, about women without children not having an equal stake in the country’s future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Harris senior campaign official said the endorsement was not coordinated with the campaign. Tim Walz, Harris’ running mate, appeared to learn about the endorsement in the middle of a live interview on MSNBC. As Rachel Maddow read the text, Walz broke into a smile and patted his chest.\u003c/p>\n\u003cp>“That was eloquent. And it was clear,” Walz said. “And that’s the kind of courage we need in America to stand up.”\u003c/p>\n\u003cfigure id=\"attachment_13951850\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg\" alt=\"Taylor Swift is photographed leaning forward in a crowd, wearing a red football jersey and looking puzzled.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13951850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift and Donna Kelce look on before the game between the Kansas City Chiefs and the Denver Broncos at GEHA Field at Arrowhead Stadium on Oct. 12, 2023, in Kansas City, Missouri. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift wrote that her endorsement was partially prompted by Trump’s decision to post artificial intelligence-generated pictures suggesting that she had endorsed him. One showed Swift dressed as Uncle Sam, and the text said “Taylor wants YOU to VOTE for DONALD TRUMP.”\u003c/p>\n\u003cp>Trump’s posts “brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter,” Swift wrote. She added that “I’ve done my research, and I’ve made my choice.”\u003c/p>\n\u003cp>Trump said Wednesday that Swift’s move “was just a question of time.” He told \u003cem>Fox & Friends\u003c/em> that Swift is “a very liberal person” who “seems to always endorse a Democrat and she’ll probably pay a price in the marketplace.”\u003c/p>\n\u003cp>In 2020, she supported Democrat Joe Biden, and she cheered for Harris in her debate against then-Vice President Mike Pence. She also was openly critical of Trump, saying he had stoked “the fires of white supremacy and racism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift is a popular figure nationwide, but especially among Democrats. An October 2023 Fox News poll found that 55% of voters overall, including 68% of Democrats, said they had a favorable view of Swift. Republicans were divided, with 43% having a favorable opinion and 45% an unfavorable one.\u003c/p>\n\u003cp>AP VoteCast suggests that a partisan divide on Swift was apparent as early as 2018. That’s the year Swift made her first political endorsement, supporting Tennessee Democrat Phil Bredesen for Senate over Republican Marsha Blackburn.\u003c/p>\n\u003cp>VoteCast found that among Tennessee voters that year, 55% of Democrats and just 19% of Republicans said they had a favorable opinion of Swift. Blackburn won by a comfortable margin in the deep red state.\u003c/p>\n\u003cp>Swift is the leading nominee at Wednesday’s MTV Video Music Awards. While it’s unclear whether Swift will attend the show in New York, she could use any acceptance speeches to elaborate on her support of Harris.\u003c/p>\n\u003cp>The event was shifted a day later to accommodate Tuesday’s debate. MTV has a long history of encouraging voter participation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Jill Colvin in Philadelphia, Linley Sanders in Washington and Anthony McCartney in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-franciscos-frak-has-been-wild-n-out",
"title": "San Francisco’s Frak Has Been ‘Wild ’n Out’",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco rapper Frak has been putting points on the board this year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His 2024 scorecard boasts of appearances on \u003ca href=\"https://www.kqed.org/arts/13951954/frak-san-francisco-rapper-family-not-a-group\">\u003cem>Sway in the Morning\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/shorts/jKKIw5fzwrU\">\u003cem>On The Radar.\u003c/em>\u003c/a> He’s \u003ca href=\"https://www.youtube.com/watch?v=_BnwWgWIzuQ\" target=\"_blank\" rel=\"noopener\">dropped comedy skits \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=LDqMd1-F3-w\" target=\"_blank\" rel=\"noopener\">made music with hip-hop legends\u003c/a>. He’s worked with peers to \u003ca href=\"https://www.instagram.com/foursquare.bars/\" target=\"_blank\" rel=\"noopener\">highlight hip-hop talent\u003c/a>, and he’s gotten praise from rap veterans from across the nation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, on \u003c/span>\u003ca href=\"https://posh.vip/e/out-the-garage-cofounders-x-frak-wild-n-out-watch-party\">\u003cspan style=\"font-weight: 400\">Sept. 12\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> Frak will be in Oakland with \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13905839/startup-dreams-hip-hop-and-theater-meet-in-a-new-play-about-tech-art\">\u003cspan style=\"font-weight: 400\">the crew of \u003cem>Co-Founders\u003c/em>, a hip-hop musical,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for a screening of his latest venture: VH1’s current season of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wild ’n Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-800x1200.jpg\" alt=\"Sway Calloway and Wyclef Jean give praise to Frak after his sensational performance on 'Sway in the Morning'.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sway Calloway and Wyclef Jean praise Frak after his sensational performance on ‘Sway in the Morning.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The show, which has been in production since 2005, pits two teams of talented MCs against one another to rhyme insults in front of a live studio audience. In the latest season, which debuted in late July, Frak joins a star-studded cast that includes\u003c/span> Nick Cannon, N.O.R.E., NLE Choppa, Mariah the Scientist and Saucy Santana.\u003c/p>\n\u003cp>Altogether, Frak says five of the episodes he filmed will air this season. But he almost took himself out of the game before even trying out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three days before auditions, Frak sprained his ankle playing basketball. He doubted he’d be able to perform to his full ability since he couldn’t dance or move comfortably on stage. But on crutches, with his right ankle in a boot, he nervously auditioned in Atlanta.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The injury ended up being a nonissue, and actually made room for more clever quips. “All the producers were like ‘Nah, he’s going to be able to flip this thing,’” Frak recalls. \u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G-p3YXJJUs8\u003c/p>\n\u003cp>Frak’s years as a battle rapper prepared him for his \u003cem>Wild ’n Out\u003c/em> debut. Yet h\u003cspan style=\"font-weight: 400\">e admits the show’s brand of comedy is a bit different from his usual flavor of heady, niche and esoteric puns. Ultimately, the challenge pushed Frak to better his craft. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The cast was a tight community, and they’d have late-night cookouts where they would freestyle and share tips. “The OGs, they’d roast the hell out of you on stage, but off stage they were all really cool and humble,” he says. “It was a great vibe.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even before he broke the news about his \u003cem>Wild ’n Out\u003c/em> appearance, Frak returned from filming motivated to be consistent with his music and content. He’s been entrepreneurial, too, reaching out to potential collaborators, unafraid to try new things. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/icNpac6_xQU?si=vTJv-IT_Ed6Fz8jX\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Case in point, in June Frak noticed actor Wayne Brady liked a number of his posts on TikTok. So Frak sent him a DM asking to meet in person. “I wasn’t even thinking about freestyling,” says Frak. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Brady invited Frak and his girlfriend to meet outside of a theater in New York where Brady was set to perform. “He was about to do \u003cem>The Wiz\u003c/em> matinee in 20 minutes,” Frak recalls. “He came down and we freestyled, and he went back up and performed.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a random but significant moment for Frak, whose early influences include Kanye West, MF DOOM, Lupe Fiasco and — oddly enough, Brady himself. Brady’s improv game show, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Whose Line Is It Anyway?,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> was a big part of Frak’s childhood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A sponge of the game, Frak took lessons from actors, local artists and well known battle rappers. He came up through the Bay Area’s\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13958221/when-the-youth-speak-mush-lee-listens\"> \u003cspan style=\"font-weight: 400\">Youth Speaks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> program, shined in the organization’s MC Olympics, and was propelled toward battle rap byway of his involvement with the Ruckus Revival variety show (formerly known as Tourettes Without Regrets).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Years later, Frak is no longer the underrated battle rapper he once was. “I’m getting the looks and the compliments,” says Frak. Last month, \u003c/span>\u003ca href=\"https://www.instagram.com/murdamookez/?hl=en\">\u003cspan style=\"font-weight: 400\">Murda Mook\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who Frak calls “the all-time icon of battle rap,” sang Frak’s praises after seeing him \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=mxYNjyDKJNI\">\u003cspan style=\"font-weight: 400\">battle John John da don\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mxYNjyDKJNI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The compliments extend beyond the battle rap arena. During a recent interview on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Pat Bev Podcast with Rone\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Bay Area rap star G-Eazy shouted out the kid from Frisco with the ill wordplay. “I have a private friendship with G-Eazy,” says Frak, “but the fact that he decided to say that publicly means something.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It does mean something: Folks are seeing the numbers he’s putting up. \u003c/span>\u003cspan style=\"font-weight: 400\">And still, even with the recent high praise and national success, Frak is diligent about surrounding himself with a wave of Bay Area talent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As part of the collective\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\"> \u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he makes music and performs at local events, including an upcoming show on\u003c/span>\u003ca href=\"https://www.kqed.org/events/4438/how-to-party-with-a-purpose-feat-family-not-a-group\"> \u003cspan style=\"font-weight: 400\">Sept. 26 at KQED\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Frak’s \u003ca href=\"https://www.instagram.com/foursquare.bars/\" target=\"_blank\" rel=\"noopener\">Four Square\u003c/a> Instagram series, where artists rapidly trade off bars over dope beats, has brought about more opportunities to collaborate with other Bay Area artists. He recently filmed one with acclaimed Oakland actor and lyricist Tia Nomore, and is on the verge of dropping one with rising MC 1100 Himself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Frak says that it’s really all about creating a platform so everyone can eat. This is his way of giving back to the soil that fed him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a chance Frak could make a cameo at the Chase Center on Sept. 14 for\u003c/span>\u003ca href=\"https://www.chasecenter.com/events/nick-cannon-presents-wild-n-out-live-tour-20240914/\"> \u003ci>\u003cspan style=\"font-weight: 400\">Wild ’n Out’s\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> national stadium tour\u003c/span>\u003c/a>. But he’\u003cspan style=\"font-weight: 400\">s really focused on his event in Oakland on Sept. 12, where tickets are just $1.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-800x529.jpeg\" alt=\"Frak in San Francisco on MUNI in Chinatown.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-800x529.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-1020x674.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-1536x1015.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frak in San Francisco on MUNI in Chinatown.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m so grateful for the Bay Area events … all these Bay Area things I’ve been a part of that got me to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wild ’n Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,” says Frak, noting that this upcoming screening event is his way of thanking the community in real life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I didn’t know I was building toward something,” he says, reflecting on his path. “I felt like I was just doing this because I love it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Frak, and any artist for that matter, there will inevitably be times where there aren’t a bunch of viral moments and praise from legends — instances where the points on the board aren’t reflective of the work you’re putting in. But Frak is on to something: His commitment to his lyrical craftsmanship, knack for satire, ability to collaborate and willingness to be outside are all acts of love.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Win or lose, it’s a lot easier to play the game when you love it.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Frak’s Wild ’n Out watch party is on Sept. 12 from 7-10 p.m. in Oakland. \u003ca href=\"https://posh.vip/e/out-the-garage-cofounders-x-frak-wild-n-out-watch-party\" target=\"_blank\" rel=\"noopener\">RSVP and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The rapper honed his comedy chops on set with N.O.R.E., Nick Cannon and NLE Choppa. ",
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"title": "San Francisco’s Frak Has Been ‘Wild ’n Out’ | KQED",
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"headline": "San Francisco’s Frak Has Been ‘Wild ’n Out’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco rapper Frak has been putting points on the board this year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His 2024 scorecard boasts of appearances on \u003ca href=\"https://www.kqed.org/arts/13951954/frak-san-francisco-rapper-family-not-a-group\">\u003cem>Sway in the Morning\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/shorts/jKKIw5fzwrU\">\u003cem>On The Radar.\u003c/em>\u003c/a> He’s \u003ca href=\"https://www.youtube.com/watch?v=_BnwWgWIzuQ\" target=\"_blank\" rel=\"noopener\">dropped comedy skits \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=LDqMd1-F3-w\" target=\"_blank\" rel=\"noopener\">made music with hip-hop legends\u003c/a>. He’s worked with peers to \u003ca href=\"https://www.instagram.com/foursquare.bars/\" target=\"_blank\" rel=\"noopener\">highlight hip-hop talent\u003c/a>, and he’s gotten praise from rap veterans from across the nation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, on \u003c/span>\u003ca href=\"https://posh.vip/e/out-the-garage-cofounders-x-frak-wild-n-out-watch-party\">\u003cspan style=\"font-weight: 400\">Sept. 12\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> Frak will be in Oakland with \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13905839/startup-dreams-hip-hop-and-theater-meet-in-a-new-play-about-tech-art\">\u003cspan style=\"font-weight: 400\">the crew of \u003cem>Co-Founders\u003c/em>, a hip-hop musical,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for a screening of his latest venture: VH1’s current season of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wild ’n Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963979\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-800x1200.jpg\" alt=\"Sway Calloway and Wyclef Jean give praise to Frak after his sensational performance on 'Sway in the Morning'.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/unnamed-1-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sway Calloway and Wyclef Jean praise Frak after his sensational performance on ‘Sway in the Morning.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The show, which has been in production since 2005, pits two teams of talented MCs against one another to rhyme insults in front of a live studio audience. In the latest season, which debuted in late July, Frak joins a star-studded cast that includes\u003c/span> Nick Cannon, N.O.R.E., NLE Choppa, Mariah the Scientist and Saucy Santana.\u003c/p>\n\u003cp>Altogether, Frak says five of the episodes he filmed will air this season. But he almost took himself out of the game before even trying out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Three days before auditions, Frak sprained his ankle playing basketball. He doubted he’d be able to perform to his full ability since he couldn’t dance or move comfortably on stage. But on crutches, with his right ankle in a boot, he nervously auditioned in Atlanta.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The injury ended up being a nonissue, and actually made room for more clever quips. “All the producers were like ‘Nah, he’s going to be able to flip this thing,’” Frak recalls. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G-p3YXJJUs8'\n title='//www.youtube.com/embed/G-p3YXJJUs8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Frak’s years as a battle rapper prepared him for his \u003cem>Wild ’n Out\u003c/em> debut. Yet h\u003cspan style=\"font-weight: 400\">e admits the show’s brand of comedy is a bit different from his usual flavor of heady, niche and esoteric puns. Ultimately, the challenge pushed Frak to better his craft. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The cast was a tight community, and they’d have late-night cookouts where they would freestyle and share tips. “The OGs, they’d roast the hell out of you on stage, but off stage they were all really cool and humble,” he says. “It was a great vibe.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even before he broke the news about his \u003cem>Wild ’n Out\u003c/em> appearance, Frak returned from filming motivated to be consistent with his music and content. He’s been entrepreneurial, too, reaching out to potential collaborators, unafraid to try new things. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/icNpac6_xQU'\n title='//www.youtube.com/embed/icNpac6_xQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Case in point, in June Frak noticed actor Wayne Brady liked a number of his posts on TikTok. So Frak sent him a DM asking to meet in person. “I wasn’t even thinking about freestyling,” says Frak. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Brady invited Frak and his girlfriend to meet outside of a theater in New York where Brady was set to perform. “He was about to do \u003cem>The Wiz\u003c/em> matinee in 20 minutes,” Frak recalls. “He came down and we freestyled, and he went back up and performed.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a random but significant moment for Frak, whose early influences include Kanye West, MF DOOM, Lupe Fiasco and — oddly enough, Brady himself. Brady’s improv game show, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Whose Line Is It Anyway?,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> was a big part of Frak’s childhood. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A sponge of the game, Frak took lessons from actors, local artists and well known battle rappers. He came up through the Bay Area’s\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13958221/when-the-youth-speak-mush-lee-listens\"> \u003cspan style=\"font-weight: 400\">Youth Speaks\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> program, shined in the organization’s MC Olympics, and was propelled toward battle rap byway of his involvement with the Ruckus Revival variety show (formerly known as Tourettes Without Regrets).\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Years later, Frak is no longer the underrated battle rapper he once was. “I’m getting the looks and the compliments,” says Frak. Last month, \u003c/span>\u003ca href=\"https://www.instagram.com/murdamookez/?hl=en\">\u003cspan style=\"font-weight: 400\">Murda Mook\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who Frak calls “the all-time icon of battle rap,” sang Frak’s praises after seeing him \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=mxYNjyDKJNI\">\u003cspan style=\"font-weight: 400\">battle John John da don\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mxYNjyDKJNI'\n title='//www.youtube.com/embed/mxYNjyDKJNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The compliments extend beyond the battle rap arena. During a recent interview on \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Pat Bev Podcast with Rone\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Bay Area rap star G-Eazy shouted out the kid from Frisco with the ill wordplay. “I have a private friendship with G-Eazy,” says Frak, “but the fact that he decided to say that publicly means something.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It does mean something: Folks are seeing the numbers he’s putting up. \u003c/span>\u003cspan style=\"font-weight: 400\">And still, even with the recent high praise and national success, Frak is diligent about surrounding himself with a wave of Bay Area talent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As part of the collective\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\"> \u003cspan style=\"font-weight: 400\">Family Not A Group\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he makes music and performs at local events, including an upcoming show on\u003c/span>\u003ca href=\"https://www.kqed.org/events/4438/how-to-party-with-a-purpose-feat-family-not-a-group\"> \u003cspan style=\"font-weight: 400\">Sept. 26 at KQED\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Frak’s \u003ca href=\"https://www.instagram.com/foursquare.bars/\" target=\"_blank\" rel=\"noopener\">Four Square\u003c/a> Instagram series, where artists rapidly trade off bars over dope beats, has brought about more opportunities to collaborate with other Bay Area artists. He recently filmed one with acclaimed Oakland actor and lyricist Tia Nomore, and is on the verge of dropping one with rising MC 1100 Himself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Frak says that it’s really all about creating a platform so everyone can eat. This is his way of giving back to the soil that fed him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a chance Frak could make a cameo at the Chase Center on Sept. 14 for\u003c/span>\u003ca href=\"https://www.chasecenter.com/events/nick-cannon-presents-wild-n-out-live-tour-20240914/\"> \u003ci>\u003cspan style=\"font-weight: 400\">Wild ’n Out’s\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> national stadium tour\u003c/span>\u003c/a>. But he’\u003cspan style=\"font-weight: 400\">s really focused on his event in Oakland on Sept. 12, where tickets are just $1.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13963982\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13963982\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-800x529.jpeg\" alt=\"Frak in San Francisco on MUNI in Chinatown.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-800x529.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-1020x674.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-768x507.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04-1536x1015.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/FRAK-Chinatown-Muni-04.jpeg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frak in San Francisco on MUNI in Chinatown.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m so grateful for the Bay Area events … all these Bay Area things I’ve been a part of that got me to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wild ’n Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,” says Frak, noting that this upcoming screening event is his way of thanking the community in real life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I didn’t know I was building toward something,” he says, reflecting on his path. “I felt like I was just doing this because I love it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Frak, and any artist for that matter, there will inevitably be times where there aren’t a bunch of viral moments and praise from legends — instances where the points on the board aren’t reflective of the work you’re putting in. But Frak is on to something: His commitment to his lyrical craftsmanship, knack for satire, ability to collaborate and willingness to be outside are all acts of love.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Win or lose, it’s a lot easier to play the game when you love it.\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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