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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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"excerpt": "Irene Roberts is astonishing as Offred in this powerful production at San Francisco Opera.",
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"title": "‘The Handmaid’s Tale’ San Francisco Opera Review | KQED",
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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",
"publishDate": 1726167353,
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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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"title": "Taylor Swift Wins Big at the MTV VMAs to Tie Beyoncé’s Record",
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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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"excerpt": "From the VMAs stage, Swift thanked Travis Kielce, encouraged fans to register to vote and also praised Post Malone.",
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"description": "From the VMAs stage, Swift thanked Travis Kielce, encouraged fans to register to vote and also praised Post Malone.",
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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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"slug": "qing-qi-queens-of-the-underground",
"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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"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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"slug": "hispanic-heritage-month-events-in-the-bay-area",
"title": "Hispanic Heritage Month Events In the Bay Area",
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"headTitle": "Hispanic Heritage Month Events In the Bay Area | KQED",
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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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"title": "Hispanic Heritage Month Events In the Bay Area | KQED",
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"headline": "Hispanic Heritage Month Events In the Bay Area",
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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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"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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"slug": "wide-hive-records-berkeley-mike-clark-henry-franklin",
"title": "Berkeley’s Wide Hive Records Still Buzzes With Soul After Nearly 25 Years",
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"content": "\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RixIgKDjVfM\u003c/p>\n\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b1Y9w_sC8Vw\u003c/p>\n\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>[aside postID='arts_13962843']Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>[aside postID='arts_13955977']“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GM8gmSyeEsQ\u003c/p>\n\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, the Wide Hive studio looks less than promising, with its battered, nondescript glass door set in an anonymous South Berkeley storefront just off Telegraph Avenue. But to step into the tightly packed space is to enter a sanctuary where some of the world’s greatest jazz musicians have made prized recordings.\u003c/p>\n\u003cp>Sectioned off into three small rooms packed with microphones, keyboards and recording gear, the studio is the primary facility Gregory Howe uses to record sessions for Wide Hive Records. Over the past two decades, it’s served as headquarters for the boutique label documenting revered masters such as the Art Ensemble of Chicago’s Roscoe Mitchell, Los Angeles trombonist Phil Ranelin, Oakland guitar great Calvin Keys, and Larry Coryell, the pioneering fusion guitarist who spans just about every jazz idiom of the past half-century.\u003c/p>\n\u003cp>Punching way above its weight class, Howe’s Wide Hive hasn’t scored a hit (though its four-volume Throttle Elevator Music series found a wide audience by capturing L.A. tenor saxophonist Kamasi Washington in a variety of settings just as his career accelerated). Since founding the label in 1997, Howe’s thoughtfully showcased musicians he likes to describe as “soul warriors.”\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/RixIgKDjVfM'\n title='//www.youtube.com/embed/RixIgKDjVfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’re not just paid in money,” he said. “We’re paid in soul, and for me it’s been like trying to collect parts of that soul with these masters like Roscoe, Phil, Calvin, and Henry Franklin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franklin, known to friends and colleagues as “The Skipper,” handles bass on the latest Wide Hive gem, \u003cem>Kosen Rufu\u003c/em>, a session led by New York drummer Mike Clark, who attained near-legendary status in funk (and later, hip-hop) circles for his work with Herbie Hancock’s Headhunters on 1974’s \u003cem>Thrust\u003c/em> and 1975’s \u003cem>Man-Child\u003c/em>. In a sign of both Wide Hive’s increasing visibility but below-the-radar status, Clark celebrates the album’s release with four shows at SFJAZZ, in the center’s small side room, the \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Joe Henderson Lab\u003c/a>, on Sept. 14 and 15.\u003c/p>\n\u003cp>What’s frustrating is Clark’s prodigious lineup more than merits prime billing in the SFJAZZ Center’s main Miner Auditorium. Except for percussionist Bill Summers, with whom Clark recently recorded a new Headhunters LP \u003cem>The Stunt Man\u003c/em> at Hyde Street Studios, the SFJAZZ gig features the same all-star cast as the \u003cem>Kosen Rufu\u003c/em> album, including trumpet great Eddie Henderson.\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/b1Y9w_sC8Vw'\n title='//www.youtube.com/embed/b1Y9w_sC8Vw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henderson and Clark have played together for over 50 years. In the late 1960s, the Sacramento-reared Clark was a scuffling Bay Area drummer who could usually be found playing jazz and R&B with his best friend, the late bassist Paul Jackson Jr. Henderson had just moved back to the Bay Area after graduating from Howard University to start a psychiatry residency at UCSF’s Langley-Porter Institute. \u003c/p>\n\u003cp>“The first time we played together was at The Both/And on Divisadero around 1969,” Clark recalled. “Ever since then, I’ve called him for gigs and record dates and he’s called me. We’ve got a long history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clark started playing regularly with Franklin in the mid-1990s, when the Riverside-based bassist was already decades into an illustrious career of touring and recording with the likes of Freddie Hubbard, Hampton Hawes, Stevie Wonder and Hugh Masekela. (That was Franklin providing the bounce on the South African trumpet star’s chart-topping 1968 hit “Grazing In the Grass.”)\u003c/p>\n\u003cp>“Henry’s got that post-bop beat, just a great feel,” Clark said. “When I play that ride cymbal, I want the bassist right there with me. He’s got that modern edge.”\u003c/p>\n\u003cp>To the best of his recollection, Franklin hasn’t performed in San Francisco since the mid-1970s. The Wide Hive connection, though, has reintroduced the bassist to the Bay Area. The day before the Joe Henderson Lab gig, Clark will regroup with Henderson and Franklin at Wide Hive to record a quartet session with Patrice Rushen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Gregory’s searching for the real deal,” said Franklin, who’s released around two dozen albums on his Skipper Productions label. “He’s got his direction set. And just as importantly, he’s a real sweetheart, just a cool guy to work with.”\u003c/p>\n\u003cp>Rounding out the \u003cem>Kosen Rufu\u003c/em> album and the live quintet at SFJAZZ are two singular players from Seattle, the uncategorizable pianist/keyboardist Wayne Horvitz, best known in some circles for his extensive work with John Zorn, and Critters Buggin saxophonist Skerik, a longtime collaborator with Bay Area bassist Les Claypool.\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/GM8gmSyeEsQ'\n title='//www.youtube.com/embed/GM8gmSyeEsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When asked about his musical identity, Clark is quick to declare that “given my druthers, I’m a bebop/post-bop drummer,” inspired by the likes of Philly Joe Jones, Elvin Jones and Tony Williams. But given his Headhunters work — his beats from “Actual Proof” and “Butterfly” have been widely sampled — he often gets calls for funk-related dates.\u003c/p>\n\u003cp>Howe, meanwhile, isn’t looking to put Clark in a particular box with his recordings for Wide Hive — something the drummer appreciates.\u003c/p>\n\u003cp>“In my estimation, Mike is of the 10 greatest drummers,” Howe said. “His discography is scary good, and so much of it was done here [in the Bay Area]; the Headhunters, Vince Guaraldi. He can play anything and you know it’s going to be soulful.”\u003c/p>\n\u003cp>For Howe, it’s another opportunity to capture a jazz original in his prime, surrounded by compatriots with their own musical tales to tell.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mike Clark performs with Eddie Henderson, Henry Franklin and Skerik on Sept. 14 and 15 at SFJAZZ’s Joe Henderson Lab in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/24-25/mike-clark-eddie-henderson-henry-franklin/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Announces Final Lineup with Patti Smith, Lucinda Williams",
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"content": "\u003cp>\u003cstrong>Update, Sept. 10, 2024:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly announced the final additions to its lineup today. “Punk poet laureate” Patti Smith, Americana singer-songwriter Lucinda Williams and Songs From a Gravel Road (Kelly Willis, Chuck Prophet, Ismay and Steve Earle) are among the two dozen-plus new acts joining the bill. The festival brings bluegrass, blues, country, indie rock and more to San Francisco’s Golden Gate Park Oct. 4–6. Its daily lineups are as follows.\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 4:\u003c/strong>\u003cbr>\nCat Power Sings Dylan ’66\u003cbr>\nCharlie Overbey\u003cbr>\nDevendra Banhart\u003cbr>\nGlen Hansard\u003cbr>\nIbibio Sound Machine\u003cbr>\nJessica Pratt\u003cbr>\nLindsay Lou\u003cbr>\nMatt the Electrician\u003cbr>\nMolly Tuttle & Golden Highway\u003cbr>\nSean McConnell\u003cbr>\nSgt. Splendor\u003cbr>\nSleater-Kinney\u003cbr>\nSongs from a Gravel Road: Kelly Willis, Chuck Prophet, Ismay & Steve Earle\u003cbr>\nThe Milk Carton Kids\u003cbr>\nViv & Riley\u003cbr>\nWonder Women of Country\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 5:\u003c/strong>\u003cbr>\nAlison Brown\u003cbr>\nBuddy Miller’s Cavalcade of Stars: The Red Dirt Boys, Jobi Riccio, Teddy Thompson, Dom, Flemons, Carlene Carter, & Buddy Miller\u003cbr>\nCunningham Bird\u003cbr>\nDave Alvin\u003cbr>\nJimmie Dale Gilmore & The Guilty Ones\u003cbr>\nDry Branch Fire Squad\u003cbr>\nFruition\u003cbr>\nGreensky Bluegrass\u003cbr>\nHaley Heynderickx\u003cbr>\nJackie Greene & Anders Osborne\u003cbr>\nJohn Cooper Clarke\u003cbr>\nJon Langford & The Far Forlorn\u003cbr>\nLaurie Lewis & The Right Hands\u003cbr>\nLevitation Room\u003cbr>\nMarco and The Polos\u003cbr>\nMavis Staples\u003cbr>\nMoonalice\u003cbr>\nNigel Wearne & The Spectres\u003cbr>\nOakland Rising featuring Melodious & Friends\u003cbr>\nRev. Peyton’s Big Damn Band\u003cbr>\nRobyn Hitchcock\u003cbr>\nSam Reider and The Human Hands\u003cbr>\nSteve Earle featuring Molly Tuttle & Golden Highway\u003cbr>\nWilli Carlisle\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 6:\u003c/strong>\u003cbr>\nAbby Posner\u003cbr>\nAJ Lee & Blue Summit\u003cbr>\nAlice Gerrard\u003cbr>\nAlisa Amador\u003cbr>\nAoife O’Donovan with Hawktail and The San Francisco Girls Chorus\u003cbr>\nBobby Rush\u003cbr>\nBrandy Clark\u003cbr>\nBig Star Quintet’s “Radio City” 50th Anniversary\u003cbr>\nCedric Burnside\u003cbr>\nChaparalle\u003cbr>\nDakhaBrakha\u003cbr>\nCombo Tezeta\u003cbr>\nEmmylou Harris\u003cbr>\nJames Hunter\u003cbr>\nJon Muq\u003cbr>\nPatti Smith\u003cbr>\nTony Trischka’s Earl Jam\u003cbr>\nMiko Marks\u003cbr>\nRaining Chansaws\u003cbr>\nRambler Jack Elliott\u003cbr>\nSongwriter Circle featuring Peter Case, Carsie Blanton, Teddy Thompson and Melissa Carper\u003cbr>\nThe Bones of J.R. Jones\u003cbr>\nThe Infamous Stringdusters\u003cbr>\nThe Wood Brothers\u003cbr>\nUstad Noor Bakhsh\u003cbr>\nWreckless Strangers\u003cbr>\nYo La Tengo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 21, 2024:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass announced a third update to the lineup for the annual, free festival coming to Golden Gate Park Oct. 4–6. Joining rock heavy-hitters Sleater-Kinney is soul, R&B and gospel powerhouse Mavis Staples, as well as Cat Power, who will perform a Bob Dylan tribute set in homage to his famed 1966 “Royal Albert Hall” concert.\u003c/p>\n\u003cp>Psychedelic cumbia band Combo Tezeta, folk singer-songwriter Jessica Pratt, Hardly Strictly mainstay Steve Earle, Cunningham Bird, Wonder Women of Country, Matt the Electrician, John Cooper Clarke, Carlene Carter and Wreckless Strangers have also been added to the bill.\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 7, 2024:\u003c/strong>\u003c/p>\n\u003cp>Sleater-Kinney will perform at \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>. The concert, now in its 24th year, announced new additions to its lineup today.\u003c/p>\n\u003cp>The influential group — whose guitarist, Carrie Brownstein, has another claim to fame as the co-creator of \u003cem>Portlandia\u003c/em> — emerged from the riot grrrl scene of the ’90s in Olympia, Washington and went on to become a force of indie rock in the 2000s. The band is still going strong in 2024 with their new album, \u003cem>Little Rope\u003c/em>, full of punchy grooves that invite listeners to dance and mosh out grief and other heavy emotions.\u003c/p>\n\u003cp>Venezuelan American singer Devendra Banhart also joins Hardly Strictly this year. He began his career busking on the streets of the Castro after dropping out of the San Francisco Art Institute, and became a star of the freak-folk movement of the aughts.\u003c/p>\n\u003cp>The 2024 lineup also offers a few standout international acts. London’s Ibibio Sound Machine will bring the dance party with their high-energy electronic pop, which draws heavily from West African music. And Kyiv’s Dakhabrakha promises to mesmerize with an experimental sound that builds upon Ukrainian folk music to create something completely new and surreal.\u003c/p>\n\u003cp>The lineup also features AJ Lee & Blue Summit, Emmylou Harris, Sean McConnell, Levitation Room, Jobi Riccio and Tony Trischka’s Earl Jam. More artists will be announced as the festival approaches.\u003c/p>\n\u003cp>\u003cstrong>Original story, July 24, 2024:\u003c/strong>\u003c/p>\n\u003cp>San Francisco is on a hot streak of \u003ca href=\"https://www.kqed.org/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove\">free concerts this summer\u003c/a>, but Hardly Strictly Bluegrass was always ahead of the curve. The annual festival has brought admission-free live music to Golden Gate Park every October for the past 24 years, and it just announced the first phase of the lineup for this year’s event, Oct. 4–6. [aside postid='arts_13961468,arts_13957394']\u003c/p>\n\u003cp>The intergenerational lineup of roots musicians ranges from millennials to nonagenarians. Expect foot-stomping Americana from \u003ca href=\"https://youtu.be/5o3gSY6XwEo?si=ac1M3F3518YVNE6V\">Greensky Bluegrass\u003c/a>; power pop band \u003ca href=\"https://youtu.be/gn5EWQtlevI?si=F6NwtasjKqDYnh8R\">Big Star\u003c/a> celebrating the 50th anniversary of their influential album \u003cem>Radio City\u003c/em>; original bluesman and 2024 Grammy winner \u003ca href=\"https://youtu.be/1Q_pdutDQPs?si=Hl2zC9n5F83LIPCh\">Bobby Rush\u003c/a>; harmonizing folk singer and multi-instrumentalist \u003ca href=\"https://youtu.be/7o19SHBWMV0?si=59HKI-tDfuZ4SwZn\">Alice Gerrard\u003c/a>; folk bands \u003ca href=\"https://youtu.be/KQKPmO2vgjc?si=e2jaHWmaisznXqEu\">The Wood Brothers\u003c/a> and \u003ca href=\"https://youtu.be/9n-oTRhWYWw?si=cdrn9wMszyTK03Mb\">Fruition\u003c/a>; English singer-songwriter \u003ca href=\"https://youtu.be/dnlsyCHN8Ic?si=Ad0dfxmZch4m-fcp\">Robyn Hitchcock\u003c/a>; introspective lyricist \u003ca href=\"https://youtu.be/Mub2i2BoHpM?si=amKeMq3cFTAPfUnv\">Haley Heynderickx\u003c/a>; folk-meets-art pop singer \u003ca href=\"https://youtu.be/ng-m9CCgyCc?si=JN4uyWSpY-npqcCX\">The Bones of J.R. Jones\u003c/a>; and \u003ca href=\"https://youtu.be/czseHfMBl4Q?si=WKQ9Pvq2-wX3_JYp\">Glen Hansard\u003c/a>, who’s currently on a sold-out tour with Pearl Jam.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hardly Strictly will announce even more artists in the coming weeks.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Sept. 10, 2024:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly announced the final additions to its lineup today. “Punk poet laureate” Patti Smith, Americana singer-songwriter Lucinda Williams and Songs From a Gravel Road (Kelly Willis, Chuck Prophet, Ismay and Steve Earle) are among the two dozen-plus new acts joining the bill. The festival brings bluegrass, blues, country, indie rock and more to San Francisco’s Golden Gate Park Oct. 4–6. Its daily lineups are as follows.\u003c/p>\n\u003cp>\u003cstrong>Friday, Oct. 4:\u003c/strong>\u003cbr>\nCat Power Sings Dylan ’66\u003cbr>\nCharlie Overbey\u003cbr>\nDevendra Banhart\u003cbr>\nGlen Hansard\u003cbr>\nIbibio Sound Machine\u003cbr>\nJessica Pratt\u003cbr>\nLindsay Lou\u003cbr>\nMatt the Electrician\u003cbr>\nMolly Tuttle & Golden Highway\u003cbr>\nSean McConnell\u003cbr>\nSgt. Splendor\u003cbr>\nSleater-Kinney\u003cbr>\nSongs from a Gravel Road: Kelly Willis, Chuck Prophet, Ismay & Steve Earle\u003cbr>\nThe Milk Carton Kids\u003cbr>\nViv & Riley\u003cbr>\nWonder Women of Country\u003c/p>\n\u003cp>\u003cstrong>Saturday, Oct. 5:\u003c/strong>\u003cbr>\nAlison Brown\u003cbr>\nBuddy Miller’s Cavalcade of Stars: The Red Dirt Boys, Jobi Riccio, Teddy Thompson, Dom, Flemons, Carlene Carter, & Buddy Miller\u003cbr>\nCunningham Bird\u003cbr>\nDave Alvin\u003cbr>\nJimmie Dale Gilmore & The Guilty Ones\u003cbr>\nDry Branch Fire Squad\u003cbr>\nFruition\u003cbr>\nGreensky Bluegrass\u003cbr>\nHaley Heynderickx\u003cbr>\nJackie Greene & Anders Osborne\u003cbr>\nJohn Cooper Clarke\u003cbr>\nJon Langford & The Far Forlorn\u003cbr>\nLaurie Lewis & The Right Hands\u003cbr>\nLevitation Room\u003cbr>\nMarco and The Polos\u003cbr>\nMavis Staples\u003cbr>\nMoonalice\u003cbr>\nNigel Wearne & The Spectres\u003cbr>\nOakland Rising featuring Melodious & Friends\u003cbr>\nRev. Peyton’s Big Damn Band\u003cbr>\nRobyn Hitchcock\u003cbr>\nSam Reider and The Human Hands\u003cbr>\nSteve Earle featuring Molly Tuttle & Golden Highway\u003cbr>\nWilli Carlisle\u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 6:\u003c/strong>\u003cbr>\nAbby Posner\u003cbr>\nAJ Lee & Blue Summit\u003cbr>\nAlice Gerrard\u003cbr>\nAlisa Amador\u003cbr>\nAoife O’Donovan with Hawktail and The San Francisco Girls Chorus\u003cbr>\nBobby Rush\u003cbr>\nBrandy Clark\u003cbr>\nBig Star Quintet’s “Radio City” 50th Anniversary\u003cbr>\nCedric Burnside\u003cbr>\nChaparalle\u003cbr>\nDakhaBrakha\u003cbr>\nCombo Tezeta\u003cbr>\nEmmylou Harris\u003cbr>\nJames Hunter\u003cbr>\nJon Muq\u003cbr>\nPatti Smith\u003cbr>\nTony Trischka’s Earl Jam\u003cbr>\nMiko Marks\u003cbr>\nRaining Chansaws\u003cbr>\nRambler Jack Elliott\u003cbr>\nSongwriter Circle featuring Peter Case, Carsie Blanton, Teddy Thompson and Melissa Carper\u003cbr>\nThe Bones of J.R. Jones\u003cbr>\nThe Infamous Stringdusters\u003cbr>\nThe Wood Brothers\u003cbr>\nUstad Noor Bakhsh\u003cbr>\nWreckless Strangers\u003cbr>\nYo La Tengo\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 21, 2024:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass announced a third update to the lineup for the annual, free festival coming to Golden Gate Park Oct. 4–6. Joining rock heavy-hitters Sleater-Kinney is soul, R&B and gospel powerhouse Mavis Staples, as well as Cat Power, who will perform a Bob Dylan tribute set in homage to his famed 1966 “Royal Albert Hall” concert.\u003c/p>\n\u003cp>Psychedelic cumbia band Combo Tezeta, folk singer-songwriter Jessica Pratt, Hardly Strictly mainstay Steve Earle, Cunningham Bird, Wonder Women of Country, Matt the Electrician, John Cooper Clarke, Carlene Carter and Wreckless Strangers have also been added to the bill.\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 7, 2024:\u003c/strong>\u003c/p>\n\u003cp>Sleater-Kinney will perform at \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">Hardly Strictly Bluegrass\u003c/a>. The concert, now in its 24th year, announced new additions to its lineup today.\u003c/p>\n\u003cp>The influential group — whose guitarist, Carrie Brownstein, has another claim to fame as the co-creator of \u003cem>Portlandia\u003c/em> — emerged from the riot grrrl scene of the ’90s in Olympia, Washington and went on to become a force of indie rock in the 2000s. The band is still going strong in 2024 with their new album, \u003cem>Little Rope\u003c/em>, full of punchy grooves that invite listeners to dance and mosh out grief and other heavy emotions.\u003c/p>\n\u003cp>Venezuelan American singer Devendra Banhart also joins Hardly Strictly this year. He began his career busking on the streets of the Castro after dropping out of the San Francisco Art Institute, and became a star of the freak-folk movement of the aughts.\u003c/p>\n\u003cp>The 2024 lineup also offers a few standout international acts. London’s Ibibio Sound Machine will bring the dance party with their high-energy electronic pop, which draws heavily from West African music. And Kyiv’s Dakhabrakha promises to mesmerize with an experimental sound that builds upon Ukrainian folk music to create something completely new and surreal.\u003c/p>\n\u003cp>The lineup also features AJ Lee & Blue Summit, Emmylou Harris, Sean McConnell, Levitation Room, Jobi Riccio and Tony Trischka’s Earl Jam. More artists will be announced as the festival approaches.\u003c/p>\n\u003cp>\u003cstrong>Original story, July 24, 2024:\u003c/strong>\u003c/p>\n\u003cp>San Francisco is on a hot streak of \u003ca href=\"https://www.kqed.org/arts/13961468/sudan-archives-sf-live-noise-pop-crane-cove\">free concerts this summer\u003c/a>, but Hardly Strictly Bluegrass was always ahead of the curve. The annual festival has brought admission-free live music to Golden Gate Park every October for the past 24 years, and it just announced the first phase of the lineup for this year’s event, Oct. 4–6. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The intergenerational lineup of roots musicians ranges from millennials to nonagenarians. Expect foot-stomping Americana from \u003ca href=\"https://youtu.be/5o3gSY6XwEo?si=ac1M3F3518YVNE6V\">Greensky Bluegrass\u003c/a>; power pop band \u003ca href=\"https://youtu.be/gn5EWQtlevI?si=F6NwtasjKqDYnh8R\">Big Star\u003c/a> celebrating the 50th anniversary of their influential album \u003cem>Radio City\u003c/em>; original bluesman and 2024 Grammy winner \u003ca href=\"https://youtu.be/1Q_pdutDQPs?si=Hl2zC9n5F83LIPCh\">Bobby Rush\u003c/a>; harmonizing folk singer and multi-instrumentalist \u003ca href=\"https://youtu.be/7o19SHBWMV0?si=59HKI-tDfuZ4SwZn\">Alice Gerrard\u003c/a>; folk bands \u003ca href=\"https://youtu.be/KQKPmO2vgjc?si=e2jaHWmaisznXqEu\">The Wood Brothers\u003c/a> and \u003ca href=\"https://youtu.be/9n-oTRhWYWw?si=cdrn9wMszyTK03Mb\">Fruition\u003c/a>; English singer-songwriter \u003ca href=\"https://youtu.be/dnlsyCHN8Ic?si=Ad0dfxmZch4m-fcp\">Robyn Hitchcock\u003c/a>; introspective lyricist \u003ca href=\"https://youtu.be/Mub2i2BoHpM?si=amKeMq3cFTAPfUnv\">Haley Heynderickx\u003c/a>; folk-meets-art pop singer \u003ca href=\"https://youtu.be/ng-m9CCgyCc?si=JN4uyWSpY-npqcCX\">The Bones of J.R. Jones\u003c/a>; and \u003ca href=\"https://youtu.be/czseHfMBl4Q?si=WKQ9Pvq2-wX3_JYp\">Glen Hansard\u003c/a>, who’s currently on a sold-out tour with Pearl Jam.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hardly Strictly will announce even more artists in the coming weeks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Criibaby’s Queer Pop Whisks You Away On a Lavender Cloud",
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"headTitle": "Criibaby’s Queer Pop Whisks You Away On a Lavender Cloud | KQED",
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"content": "\u003cp>In a world that forces queer people to stand up and fight back, \u003ca href=\"https://criibaby.com/\">Criibaby\u003c/a> wants to connect with a sense of gentleness, curiosity and play. The singer-songwriter just released her debut album \u003ci>when i’m alone i feel weightless \u003c/i>(Friends of Friends Music), a soothing electropop project with strumming guitars, luminescent synths and layered harmonies that float like clouds over an enchanted garden.\u003c/p>\n\u003cp>In this sonic cocoon, Criibaby looks back at grief and past trauma and then summons the courage to face herself so she can let go. “The big question that I’m asking is, what is holding you back from actually healing?” says Criibaby on a recent morning at the co-op music studio she helped build in West Berkeley, The Q.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2141249768/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Doc Martens emblazoned with happy and sad faces and long pigtails accentuate Criibaby’s signature look of head-to-toe lavender, from beanie to socks. Sitting cross-legged on a purple shag rug, beneath a set-up of mics and keyboards, our interview starts to feel like sharing secrets at a slumber party. Criibaby discusses her daily tea and meditation rituals that help her ground herself and connect to her feelings.\u003c/p>\n\u003cp>“I think we all, in our different ways, are escaping something,” she says. “There’s a truth that’s inside of you that has been knocking at the door for a long time and wants to be let out. It’s like a little puppy, you know, it just wants to be able to roam free.”\u003c/p>\n\u003cfigure id=\"attachment_13963955\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-1536x1508.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-2048x2010.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-1920x1884.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Criibaby at The Q in West Berkeley on Aug. 26, 2024. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music has been a way for Criibaby to unlock those innermost truths. The artist (who uses both she and they pronouns) began writing songs in earnest after the death of a close loved one. Singing provided catharsis and also a place to explore identity. Conscious of the lack of queer representation in pop, Criibaby intentionally wrote lyrics without gendered pronouns, and expressing herself through music helped them own their bisexual and genderqueer identity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a long time, Criibaby says she struggled to figure out her gender and sexuality because she didn’t feel aligned with the hypersexualized depictions of bisexual women in media, nor with stereotypes that genderqueer people are always androgynous or masculine. “I think another thing I’m trying to do with this project is be myself and let people know there’s nuance within the queer community, and nuance is important and beautiful,” she says. “We are just as varied as anyone else, you know, there’s no right way to be bi or queer or genderqueer or any of those things.”\u003c/p>\n\u003cfigure id=\"attachment_13963956\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963956\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._.png\" alt=\"\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-768x512.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Criibaby and producer Surfer Dave perform at Spotify Studios LA in 2022. \u003ccite>(Theo Garvey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Making room for queer people who don’t feel like they fit is also at the center of Criibaby’s approach to live shows. With the pitter-patter of handclaps on “safe” and soft cooing of “oohs” on “always listening,” \u003ci>when i’m alone i feel weightless\u003c/i> is more fitting for a meditation retreat than a club. At Criibaby’s \u003ca href=\"https://www.sfcenter.org/event/criibaby-clothes-swap-album-release-party/\">album release party\u003c/a> at the San Francisco LGBT Center on Sept. 11, the artist has planned a bunch of introvert-friendly activities — a succulent-crafting station and a clothing swap — that she hopes will allow shier attendees to mingle and connect with others.\u003c/p>\n\u003cp>“I think we need to experience each other’s gentleness and playfulness and in a space where we can truly be ourselves,” they say, noting the uptick in Gen Zers and millennials seeking social spaces that don’t revolve around alcohol. [aside postid='arts_13955372']\u003c/p>\n\u003cp>For Criibaby, using music as a force for healing is also about connecting to one’s childlike sense of wonder. The artist is intentional about cultivating a sense of whimsy for herself and her audience. One way she conjures a feeling of magic on stage is through \u003ca href=\"https://www.tiktok.com/@cryingaloneinmycar/video/7325279578950421806\">an electronic instrument she literally dreamt up\u003c/a> and built from scratch.\u003c/p>\n\u003cp>After dreaming that she was playing music in an alien universe by tapping glowing balls of light, Criibaby teamed up with her producer Surfer Dave and roboticist friend Monk to actually build a midi instrument that triggers samples when she touches bubble-like glass orbs that light up with color. The result is otherworldly. [aside postid='arts_13963789']\u003c/p>\n\u003cp>She debuted the orbs last year at South by Southwest, and will have them on display for the audience to play with at SF LGBT Center event. She’ll play them in her Sept. 19 set at \u003ca href=\"https://www.brava.org/all-events/theyfriendcab-sep19\">THEYFRIEND Nonbinary Cabaret at San Francisco’s Brava Theater\u003c/a>.\u003c/p>\n\u003cp>“I have this extension of my imagination that I’ve brought into real life that only I really know how to play. Wow,” she says. “I think as queer people, we’re used to building our own worlds, you know? But to have a physical manifestation of that is so special to me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Criibaby performs live at the \u003ca href=\"https://www.sfcenter.org/event/criibaby-clothes-swap-album-release-party/\">SF LGBT Center\u003c/a> on Sept. 11 and at \u003ca href=\"https://www.brava.org/all-events/theyfriendcab-sep19\">THEYFRIEND Nonbinary Cabaret at San Francisco’s Brava Theater\u003c/a> on Sept. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a world that forces queer people to stand up and fight back, \u003ca href=\"https://criibaby.com/\">Criibaby\u003c/a> wants to connect with a sense of gentleness, curiosity and play. The singer-songwriter just released her debut album \u003ci>when i’m alone i feel weightless \u003c/i>(Friends of Friends Music), a soothing electropop project with strumming guitars, luminescent synths and layered harmonies that float like clouds over an enchanted garden.\u003c/p>\n\u003cp>In this sonic cocoon, Criibaby looks back at grief and past trauma and then summons the courage to face herself so she can let go. “The big question that I’m asking is, what is holding you back from actually healing?” says Criibaby on a recent morning at the co-op music studio she helped build in West Berkeley, The Q.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2141249768/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Doc Martens emblazoned with happy and sad faces and long pigtails accentuate Criibaby’s signature look of head-to-toe lavender, from beanie to socks. Sitting cross-legged on a purple shag rug, beneath a set-up of mics and keyboards, our interview starts to feel like sharing secrets at a slumber party. Criibaby discusses her daily tea and meditation rituals that help her ground herself and connect to her feelings.\u003c/p>\n\u003cp>“I think we all, in our different ways, are escaping something,” she says. “There’s a truth that’s inside of you that has been knocking at the door for a long time and wants to be let out. It’s like a little puppy, you know, it just wants to be able to roam free.”\u003c/p>\n\u003cfigure id=\"attachment_13963955\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963955\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-scaled.jpg\" alt=\"\" width=\"2560\" height=\"2513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-800x785.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-1020x1001.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-160x157.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-1536x1508.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-2048x2010.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/criibaby-at-the-q-1920x1884.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Criibaby at The Q in West Berkeley on Aug. 26, 2024. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music has been a way for Criibaby to unlock those innermost truths. The artist (who uses both she and they pronouns) began writing songs in earnest after the death of a close loved one. Singing provided catharsis and also a place to explore identity. Conscious of the lack of queer representation in pop, Criibaby intentionally wrote lyrics without gendered pronouns, and expressing herself through music helped them own their bisexual and genderqueer identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a long time, Criibaby says she struggled to figure out her gender and sexuality because she didn’t feel aligned with the hypersexualized depictions of bisexual women in media, nor with stereotypes that genderqueer people are always androgynous or masculine. “I think another thing I’m trying to do with this project is be myself and let people know there’s nuance within the queer community, and nuance is important and beautiful,” she says. “We are just as varied as anyone else, you know, there’s no right way to be bi or queer or genderqueer or any of those things.”\u003c/p>\n\u003cfigure id=\"attachment_13963956\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963956\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._.png\" alt=\"\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/KQED-2-by-Theo-Garvey-accessibility-text-Queer-artist-Criibaby-performs-at-Spotify-with-producer-Surfer-Dave-for-a-live-from-the-studio-version-of-their-original-song-_cold._-768x512.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Criibaby and producer Surfer Dave perform at Spotify Studios LA in 2022. \u003ccite>(Theo Garvey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Making room for queer people who don’t feel like they fit is also at the center of Criibaby’s approach to live shows. With the pitter-patter of handclaps on “safe” and soft cooing of “oohs” on “always listening,” \u003ci>when i’m alone i feel weightless\u003c/i> is more fitting for a meditation retreat than a club. At Criibaby’s \u003ca href=\"https://www.sfcenter.org/event/criibaby-clothes-swap-album-release-party/\">album release party\u003c/a> at the San Francisco LGBT Center on Sept. 11, the artist has planned a bunch of introvert-friendly activities — a succulent-crafting station and a clothing swap — that she hopes will allow shier attendees to mingle and connect with others.\u003c/p>\n\u003cp>“I think we need to experience each other’s gentleness and playfulness and in a space where we can truly be ourselves,” they say, noting the uptick in Gen Zers and millennials seeking social spaces that don’t revolve around alcohol. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Criibaby, using music as a force for healing is also about connecting to one’s childlike sense of wonder. The artist is intentional about cultivating a sense of whimsy for herself and her audience. One way she conjures a feeling of magic on stage is through \u003ca href=\"https://www.tiktok.com/@cryingaloneinmycar/video/7325279578950421806\">an electronic instrument she literally dreamt up\u003c/a> and built from scratch.\u003c/p>\n\u003cp>After dreaming that she was playing music in an alien universe by tapping glowing balls of light, Criibaby teamed up with her producer Surfer Dave and roboticist friend Monk to actually build a midi instrument that triggers samples when she touches bubble-like glass orbs that light up with color. The result is otherworldly. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She debuted the orbs last year at South by Southwest, and will have them on display for the audience to play with at SF LGBT Center event. She’ll play them in her Sept. 19 set at \u003ca href=\"https://www.brava.org/all-events/theyfriendcab-sep19\">THEYFRIEND Nonbinary Cabaret at San Francisco’s Brava Theater\u003c/a>.\u003c/p>\n\u003cp>“I have this extension of my imagination that I’ve brought into real life that only I really know how to play. Wow,” she says. “I think as queer people, we’re used to building our own worlds, you know? But to have a physical manifestation of that is so special to me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Criibaby performs live at the \u003ca href=\"https://www.sfcenter.org/event/criibaby-clothes-swap-album-release-party/\">SF LGBT Center\u003c/a> on Sept. 11 and at \u003ca href=\"https://www.brava.org/all-events/theyfriendcab-sep19\">THEYFRIEND Nonbinary Cabaret at San Francisco’s Brava Theater\u003c/a> on Sept. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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