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"content": "\u003cp>The only guarantee about the Brooklyn-based musical ensemble Standing on the Corner is that there are no guarantees. \u003c/p>\n\u003cp>The group, founded nearly a decade ago, has played both avant-garde jazz sets and lo-fi beat sets. They’ve soundtracked afrofuturist films. They’ve performed at radio station benefits, and even acupuncture sessions. \u003c/p>\n\u003cp>On Saturday, the group, led on organ by Puerto Rican multidisciplinarian Gio Escobar, headlines a half-day festival at SFJAZZ while a who’s-who of Bay Area grassroots collectives and artists take over the building’s side rooms and upstairs lobby.\u003c/p>\n\u003cp>It’s the first time Standing on the Corner has played the Bay Area since 2017, opening for King Krule at the Fillmore and performing molasses-slathered renditions of “Body and Soul” and “My Funny Valentine” that handily predated the \u003ca href=\"https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/\">slowed ‘n’ reverbed TikTok trend\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg\" alt=\"\" width=\"1920\" height=\"890\" class=\"size-full wp-image-13960645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1536x712.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Zachary James Watkins and Maylee Todd also perform at Saturday’s mini-festival, coproduced by the Bay Area collective Smartbomb. \u003ccite>(Courtesy Smartbomb / Brittany Carmichael )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the seven years since, the group has collaborated with film director \u003ca href=\"https://www.youtube.com/watch?v=PEwQV6RRrzQ\">Melvin Van Peebles\u003c/a>, the rapper \u003ca href=\"https://www.youtube.com/watch?v=5vVHPRZ21iE\">Earl Sweatshirt\u003c/a>, hip-hop pioneers the Last Poets and the singer \u003ca href=\"https://www.youtube.com/watch?v=wrrjls-oxFo\">Solange\u003c/a>. After two dizzyingly creative independent releases, Standing on the Corner signed a record contract with XL Recordings but have not released a proper album since, preferring instead to self-release live cassettes and stage elaborate installations. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saturday’s show, co-produced by the Bay’s \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a> collective, also features live sets by \u003ca href=\"https://www.kqed.org/arts/11864342/the-time-traversing-sound-of-oaklands-black-spirituals\">Zachary James Watkins\u003c/a>, Maylee Todd, Musele Project and Diego Gaeta, and an art market with Smartbomb DJs and vendors from \u003ca href=\"https://www.kqed.org/arts/13919544/eternal-now-west-oakland-store-will-bundy-ali-madigan\">Eternal Now\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a> and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Standing on the Corner plays Saturday, July 6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/sfjazz-x-smartbomb/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only guarantee about the Brooklyn-based musical ensemble Standing on the Corner is that there are no guarantees. \u003c/p>\n\u003cp>The group, founded nearly a decade ago, has played both avant-garde jazz sets and lo-fi beat sets. They’ve soundtracked afrofuturist films. They’ve performed at radio station benefits, and even acupuncture sessions. \u003c/p>\n\u003cp>On Saturday, the group, led on organ by Puerto Rican multidisciplinarian Gio Escobar, headlines a half-day festival at SFJAZZ while a who’s-who of Bay Area grassroots collectives and artists take over the building’s side rooms and upstairs lobby.\u003c/p>\n\u003cp>It’s the first time Standing on the Corner has played the Bay Area since 2017, opening for King Krule at the Fillmore and performing molasses-slathered renditions of “Body and Soul” and “My Funny Valentine” that handily predated the \u003ca href=\"https://pitchfork.com/thepitch/how-slowed-reverb-remixes-became-the-melancholy-heart-of-music-youtube/\">slowed ‘n’ reverbed TikTok trend\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960645\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg\" alt=\"\" width=\"1920\" height=\"890\" class=\"size-full wp-image-13960645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-800x371.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1020x473.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-768x356.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/zachary.maylee-1536x712.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Zachary James Watkins and Maylee Todd also perform at Saturday’s mini-festival, coproduced by the Bay Area collective Smartbomb. \u003ccite>(Courtesy Smartbomb / Brittany Carmichael )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the seven years since, the group has collaborated with film director \u003ca href=\"https://www.youtube.com/watch?v=PEwQV6RRrzQ\">Melvin Van Peebles\u003c/a>, the rapper \u003ca href=\"https://www.youtube.com/watch?v=5vVHPRZ21iE\">Earl Sweatshirt\u003c/a>, hip-hop pioneers the Last Poets and the singer \u003ca href=\"https://www.youtube.com/watch?v=wrrjls-oxFo\">Solange\u003c/a>. After two dizzyingly creative independent releases, Standing on the Corner signed a record contract with XL Recordings but have not released a proper album since, preferring instead to self-release live cassettes and stage elaborate installations. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saturday’s show, co-produced by the Bay’s \u003ca href=\"https://www.kqed.org/arts/13837846/oaklands-experimental-hip-hop-party-smart-bomb-is-blowing-up\">Smartbomb\u003c/a> collective, also features live sets by \u003ca href=\"https://www.kqed.org/arts/11864342/the-time-traversing-sound-of-oaklands-black-spirituals\">Zachary James Watkins\u003c/a>, Maylee Todd, Musele Project and Diego Gaeta, and an art market with Smartbomb DJs and vendors from \u003ca href=\"https://www.kqed.org/arts/13919544/eternal-now-west-oakland-store-will-bundy-ali-madigan\">Eternal Now\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic Records\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13926316/hydefm-lower-grand-diy-internet-radio-stations-bay-area-music\">Lower Grand Radio\u003c/a> and more. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Standing on the Corner plays Saturday, July 6, at SFJAZZ. \u003ca href=\"https://www.sfjazz.org/tickets/productions/sfjazz-x-smartbomb/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "five-songs-for-the-homeless-the-bay-areas-empathy-on-record",
"title": "Five Songs for People Who've Been Homeless: The Bay Area's Empathy on Record",
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"content": "\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BPIXlsXurdI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DgwJQj2E6So\u003c/p>\n\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=eXvBjCO19QY\u003c/p>\n\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=k2Qq_tBhDsQ\u003c/p>\n\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=sgpa7wEAz7I\u003c/p>\n\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>This story was originally published in 2016.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>You might have seen it, tucked into a recent \u003ca href=\"http://www.nytimes.com/2016/05/16/us/san-francisco-homelessness.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Times\u003c/em> report\u003c/a>: the phrase “clumps of humanity,” referring to San Francisco’s homeless population.\u003c/p>\n\u003cp>My KQED coworkers and I \u003ca href=\"http://www.salon.com/2016/05/16/clumps_of_humanity_this_new_york_times_article_treated_homelessness_in_just_about_the_worst_way_possible/\" target=\"_blank\" rel=\"noopener\">weren’t the only ones\u003c/a> who noticed the \u003cem>Times\u003c/em>’ term, a denigration to those down on their luck. But it was especially strange to someone who covers music. Immediately, I thought of the many songs from the Bay Area that treat homelessness not with scorn, but with understanding and empathy.\u003c/p>\n\u003cp>Some of those songs are by musicians who’ve been homeless themselves. Nearly all are by artists who’ve found ways to either give back to the organizations that helped them, or to help others without a roof over their head.\u003c/p>\n\u003ch2>Crimpshrine, ‘Sleep, What’s That?’\u003c/h2>\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/BPIXlsXurdI'\n title='//www.youtube.com/embed/BPIXlsXurdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco punk bands had sung about being homeless before — DRI’s “\u003ca href=\"http://genius.com/Dri-soup-kitchen-lyrics\" target=\"_blank\" rel=\"noopener\">Soup Kitchen Blues\u003c/a>” and MDC’s “\u003ca href=\"http://genius.com/Mdc-no-place-to-piss-lyrics\" target=\"_blank\" rel=\"noopener\">No Place to Piss\u003c/a>” were both products of band members’ experiences squatting and couch-surfing in mid-’80s San Francisco. But Crimpshrine’s \u003cem>Sleep, What’s That?\u003c/em> EP, released in 1988 by a fledgling new record label called Lookout Records, tackled the issue head-on in its title track. Singer/guitarist Jeff Ott was himself homeless at the time, singing:\u003c/p>\n\u003cblockquote>\u003cp>So much food to eat, so many homes to sleep in\u003cbr>\nStores so full of food, so why must I eat from a garbage bin?\u003cbr>\nThere’s 1,600 people walking around today, thinking life’s a little game to play\u003cbr>\nTrying to avoid police abduction, trying to avoid hunger and self-destruction\u003c/p>\u003c/blockquote>\n\u003cp>During \u003ca href=\"https://www.youtube.com/watch?v=adbbq2-w2WY\" target=\"_blank\" rel=\"noopener\">a show at 924 Gilman\u003c/a> in 1989, Ott introduced the song by saying: “It’s about myself and all my friends on Telegraph Avenue who have no place to live, and who go without enough food every day. And there’s places they could be sleeping, and they get busted for it.”\u003c/p>\n\u003cp>Lookout Records would go on to international renown with bands like Green Day and Operation Ivy. When Crimpshrine’s EPs were reissued, the band took the opportunity to give back to the organizations that’d helped them when they were on the streets, donating royalties to \u003ca href=\"http://ebfnb.org/\" target=\"_blank\" rel=\"noopener\">Food Not Bombs\u003c/a> and the \u003ca href=\"http://www.berkeleyfreeclinic.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Free Clinic\u003c/a>.\u003c/p>\n\u003ch2>Tom Waits, ‘Cold Water’\u003c/h2>\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/DgwJQj2E6So'\n title='//www.youtube.com/embed/DgwJQj2E6So'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tom Waits has long been an advocate for the homeless, whether in songs like “On the Nickel” — a beautiful ballad from \u003cem>Heartattack and Vine\u003c/em> about Los Angeles’ Fifth Street — or in lending a song to the soundtrack of \u003cem>Streetwise\u003c/em>, a 1984 documentary about homeless teenagers in Seattle.\u003c/p>\n\u003cp>For his 1999 album \u003cem>Mule Variations\u003c/em>, Waits penned the sympathetic ode “Cold Water,” a lovely and sad song in the voice of a homeless teenager:\u003c/p>\n\u003cblockquote>\u003cp>I look 47 but I’m 24\u003cbr>\nWell they shooed me away from here the time before\u003cbr>\nTurned their backs and they locked their doors\u003cbr>\nI’m watchin’ TV in the window of a furniture store\u003c/p>\u003c/blockquote>\n\u003cp>In 2011, Waits released \u003cem>Seeds on Hard Ground\u003c/em>, a limited-edition chapbook of his poetry about homelessness. All proceeds were donated to the \u003ca href=\"http://www.refb.org/\" target=\"_blank\" rel=\"noopener\">Redwood Empire Food Bank\u003c/a>, \u003ca href=\"http://sonomacountyhomeless.org/\" target=\"_blank\" rel=\"noopener\">Sonoma County Homeless Referral Services\u003c/a> and \u003ca href=\"http://www.srcharities.org/get-help/shelter-housing\" target=\"_blank\" rel=\"noopener\">Family Support Center\u003c/a> run by the Catholic Charities of Santa Rosa.\u003c/p>\n\u003ch2>2Pac, ‘Changes’\u003c/h2>\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/eXvBjCO19QY'\n title='//www.youtube.com/embed/eXvBjCO19QY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before he moved to Oakland, Tupac Shakur grew up around tough neighborhoods in the Bronx, Harlem and Baltimore. Oftentimes, without a steady income, his single mother Afeni brought Shakur to stay at homeless shelters. The experience helped inspire “Changes,” originally recorded in 1993:\u003c/p>\n\u003cblockquote>\u003cp>And still I see no changes\u003cbr>\nCan’t a brother get a little peace?\u003cbr>\nIt’s war on the streets and a war in the Middle East\u003cbr>\nInstead of war on poverty\u003cbr>\nThey got a war on drugs so the police can bother me\u003c/p>\u003c/blockquote>\n\u003cp>Shakur put his money where his mouth was, \u003ca href=\"http://articles.latimes.com/1996-08-30/local/me-38987_1_safe-house\" target=\"_blank\" rel=\"noopener\">planning a high-profile benefit concert\u003c/a> for the brand-new community center \u003ca href=\"http://www.apch.org/\" target=\"_blank\" rel=\"noopener\">A Place Called Home\u003c/a>, serving impoverished and at-risk children in South Central Los Angeles. Shakur was murdered just weeks before the concert, but he greatly raised the center’s visibility. A Place Called Home is still going strong.\u003c/p>\n\u003ch2>Metallica, ‘Low Man’s Lyric’\u003c/h2>\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/k2Qq_tBhDsQ'\n title='//www.youtube.com/embed/k2Qq_tBhDsQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might assume that James Hetfield doesn’t have much exposure to homelessness, living as he did for years in one of the wealthiest per-capita counties in the nation. And yet a \u003ca href=\"https://ww2.kqed.org/forum/2016/06/21/forum-on-the-road-san-rafael-s-homeless-plan-stirs-debate/\" target=\"_blank\" rel=\"noopener\">KQED Forum broadcast from Marin County\u003c/a> showed that amidst Marin’s multi-million dollar homes and shiny Maseratis lives a sizeable homeless population on the street. Some are there due to drug addiction, a group Hetfield sings for in “Low Man’s Lyric”:\u003c/p>\n\u003cblockquote>\u003cp>The trash fire is warm\u003cbr>\nBut nowhere safe from the storm\u003cbr>\nAnd I can’t bear to see\u003cbr>\nWhat I’ve let me be\u003cbr>\nSo wicked and worn\u003c/p>\u003c/blockquote>\n\u003cp>Marin is an interesting case study for homelessness in areas with a vast senior-citizen population; the vicious resistance to affordable housing in the region is leaving many of advanced age out in the cold. While organizations like \u003ca href=\"https://hbofm.org/\" target=\"_blank\" rel=\"noopener\">Homeward Bound\u003c/a> and the \u003ca href=\"http://www.rittercenter.org/\" target=\"_blank\" rel=\"noopener\">Ritter Center\u003c/a> provide for Marin’s homeless, Metallica bassist Robert Trujilo recently \u003ca href=\"http://www.ktvu.com/news/134956135-story\" target=\"_blank\" rel=\"noopener\">took part in a benefit\u003c/a> for San Francisco’s St. Anthony’s Foundation, which provides services and meals to those in need.\u003c/p>\n\u003ch2>Dead Kennedys, ‘Kill the Poor’\u003c/h2>\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/sgpa7wEAz7I'\n title='//www.youtube.com/embed/sgpa7wEAz7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wouldn’t be the Bay Area without a heavy dose of satire, would it? With “Kill the Poor,” Dead Kennedys singer Jello Biafra takes intensive homeless eradication (like San Francisco’s \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">recent encampment sweeps\u003c/a>) to its logical conclusion:\u003c/p>\n\u003cblockquote>\u003cp>The sun beams down on a brand new day\u003cbr>\nNo more welfare tax to pay\u003cbr>\nUnsightly slums gone up in flashing light\u003cbr>\nJobless millions whisked away\u003cbr>\nAt last we have more room to play\u003cbr>\nAll systems go: kill the poor tonight!\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It couldn’t happen here, could it? And yet after witnessing a \u003ca href=\"http://ww2.kqed.org/news/2016/03/01/s-f-clearing-homeless-holdouts-from-division-street-neighborhood\" target=\"_blank\" rel=\"noopener\">complete sweep of the homeless on Division Street\u003c/a> — complete with tents removed, personal possessions hauled away and barricades erected to block public land — one can’t help but wonder how many steps away we are, really, from Biafra’s over-the-top proposal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "2024-san-francisco-pride-party-guide",
"title": "Your 2024 San Francisco Pride Party Guide",
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"content": "\u003cp>The gay high holy days are upon us as San Francisco prepares to host one of the biggest Pride celebrations on the globe. The draw for many is the star-studded, weekend-long \u003ca href=\"https://sfpride.org/\">SF Pride\u003c/a> celebration at Civic Center on June 29 and 30, which culminates in the parade on Sunday. For others, the highlight might be Friday’s more grassroots and protest-oriented \u003ca href=\"https://www.transmarch.org/\">Trans March\u003c/a> or Dyke Day at Dolores Park, where women and friends post up to picnic all afternoon. (Saturday’s official Dyke March is, unfortunately, \u003ca href=\"https://www.kqed.org/news/11992072/dyke-march-canceled-for-san-francisco-pride-organizers-say\">canceled this year\u003c/a>.) [aside postid='news_11991990,news_11992072,news_11990430']\u003c/p>\n\u003cp>Surrounding all these festivities are block parties, kickbacks, raves and ragers that literally go from morning to night throughout the weekend. To help you plan, here’s our handy guide of 10 parties you shouldn’t miss, with a mix of events catering to different music tastes, vibes and LGBTQ+ identities.\u003c/p>\n\u003cp>Keep in mind that each of the venues mentioned on this list has a stacked schedule all weekend long. If these parties aren’t your thing, check out the venues’ websites or your favorite DJ or drag queen’s Instagram for other events to choose from.\u003c/p>\n\u003cp>And word to the wise: Stay hydrated, \u003ca href=\"https://fentcheck.org/check-your-drugs-2\">test your party favors\u003c/a>, practice safer sex, take care of your friends and remember to have fun!\u003c/p>\n\u003cfigure id=\"attachment_13915276\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ticketstripe.com/bustinout24\">Bustin’ Out: Official Trans March After Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 6 p.m.–Saturday, June 29, 1:30 a.m.\u003cbr>\nEl Rio, San Francisco\u003cbr>\n$25\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Friday’s annual Trans March feels like an organic gathering, true to Pride’s activist roots. With trans rights under attack nationwide, this pilgrimage from Dolores Park to the Tenderloin’s Transgender District is where gender-nonconforming people and allies take up space. Instead of corporate floats, you’ll find protest signs affirming the diversity of the gender spectrum and calling for equal rights to healthcare and housing. The annual Bustin’ Out afterparty at El Rio after the march is a benefit for Transgender Gender-Variant & Intersex Justice Project (TGIJP), an organization that fights prison abuses and supports formerly incarcerated trans people. DJ sets by Dreams, Succubus, Honeybear and Lady Ryan will turn up the energy, and there’ll be a designated chill zone next door at Mothership with music by Piano Rain and Del. San Francisco’s all-Black drag show, Reparations, will host performances. Presales have sold out, so getting there early to snag door tickets is a must.\u003c/p>\n\u003cfigure id=\"attachment_13936004\" class=\"wp-caption aligncenter\" style=\"max-width: 1288px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg\" alt=\"\" width=\"1288\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-768x432.jpg 768w\" sizes=\"(max-width: 1288px) 100vw, 1288px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE! \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/forever-queer-pride-dancing-and-drag-tickets-915617696177?\">Forever-Queer Pride Dancing and Drag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 2 a.m.\u003cbr>\nThe Stud, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>Legendary queer bar The Stud recently reopened its doors in SoMa, and drag performer Vivvyanne ForeverMORE! is kicking off a new party during Pride weekend: Forever. With performances by Clutch the Pearls co-founder Churro Nomi, Princess co-host Lisa Frankenstein, Major Hammy, Hands and Britney Smearz, this event celebrates the experimental and off-kilter style of drag The Stud is known for. DJs Infinite Jess and JUMPR will keep the dance floor going all night.\u003c/p>\n\u003cfigure id=\"attachment_13960292\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960292\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">UNiiQU3 performs at Webster Hall Thursdays on March 24, 2016. \u003ccite>(Nicky Digital/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/club-ablunt-presents-just-us-pride-2024-w-uniiqu3-tickets-912343874087?\">Club A.B.L.U.N.T. Presents: Pride with UNIIQU3\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 10 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nMonarch, San Francisco\u003cbr>\n$20–$30\u003c/em>\u003c/p>\n\u003cp>UNIIQU3 has rocked massive festival stages, but CLUB A.B.L.U.N.T..’s pride party at Monarch offers the rare opportunity to experience her manic Jersey club beats in their optimal setting: while getting your life in a sweaty basement. This party’s stacked lineup features a dozen of the Bay’s top-tier DJs: experimental beatmaker Tomu DJ; Hard French founder Brown Amy; hyperpop connoisseur Freaky Emo; house music experts Charles Hawthorne and Floridawtr; and Black, who started A.B.L.U.N.T. (Asians, Blacks and Latins Uniting with Native Tribes), one of the first Bay Area parties to center queer people of color, back in the early ’90s. [aside postid='arts_13915614']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bearracuda-san-francisco-pride-2024-tickets-793750056787?\">Bearracuda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nPublic Works, San Francisco\u003cbr>\n$30–$60\u003c/em>\u003c/p>\n\u003cp>If you’re looking for a celebration of beefy and burly men, look no further than Bearracuda on Friday night. This bear-centric event will take over the 1,000-capacity nightclub Public Works — and it promises to be a full house. As far as dress code, underwear is encouraged, and there will be a place to check your clothes (not just your coat). DJs David Harness, Mateo Segade and Philip Grasso — plus go-go dancers — will keep the crowd moving to house beats all night. [aside postid='arts_13960094']\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/hella-gay-sf-pride-after-party-tickets-927530176727?\">Hella Gay Pride Dance Party\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, June 29, 8 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nFirst Edition, Oakland\u003cbr>\n$10, $20\u003c/i>\u003c/p>\n\u003cp>Hella Gay was an Oakland queer party staple pre-pandemic, and it returns during Pride weekend at Oakland cocktail bar First Edition. East Bay dwellers now have a dance option that won’t have them scrambling to catch last BART or break the bank for an Uber from the City. DJs Homofongo, Kare Bear and Micahtron (who, full disclosure, booked me to DJ at First Edition once last year), will be spinning genre-bending sets of Afrobeats, dembow, house, hip-hop and more to get booties of all genders popping all night.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/drag-vs-burlesque-pride-show-tickets-914988313677?aff=ebdssbdestsearch\">Drag vs. Burlesque\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 9 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nThe White Horse, Oakland\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Helmed by Queer Fem Parties, Drag vs. Burlesque promises a night of pole dancing and drag with femme performers of color at the center, and a lineup that celebrates all shapes and sizes. Expect gravity-defying moves and lip sync numbers alike from Lici Louboutin Makaveli, Ashanti Altovese, Nani Panther, Mari V, Mahlae Balenciaga and Qozmo the Clown, plus music by DJ Fredie.\u003c/p>\n\u003cfigure id=\"attachment_13930600\" class=\"wp-caption aligncenter\" style=\"max-width: 1636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png\" alt=\"a large street party with a pink stage and a crowd of people dancing in front of it\" width=\"1636\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png 1636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1536x1021.png 1536w\" sizes=\"(max-width: 1636px) 100vw, 1636px\">\u003cfigcaption class=\"wp-caption-text\">The Pink Block party, 2022. \u003ccite>(Saylor Nedelman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/polyglamorous-pink-block-2024-tickets-828178543317?\">Polyglamorous Pink Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 12 p.m.–Sunday, Jun3 30, 3 a.m.\u003cbr>\nThe Great Northern, San Francisco\u003cbr>\n$30–$110\u003c/em>\u003c/p>\n\u003cp>If you’re looking for rave vibes during Pride weekend, don’t sleep on the massive Polyglamorous block party. The all-day, all-night event boasts an enormous lineup of over 40 DJs and 12 drag performers. Daytime headliners include funky beat selector DJ Holographic, Scissor Sisters’ Ana Matronic and Olof Dreijer of The Knife; Massimiliano Pagliara — a driving force of Berlin’s disco revival — headlines after-dark festivities.\u003c/p>\n\u003cfigure id=\"attachment_13960303\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg\" alt=\"\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1920x2887.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">MTooray plays dhol at Central Park SummerStage during the Basement Bhangra 20th Anniversary celebration, New York, New York, August 6, 2017. \u003ccite>( Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely/1230049\">Queer as in Uprising! Soulovely Pride Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 1–6 p.m.\u003cbr>\nVictory Hall & Parlor, San Francisco\u003cbr>\n$35–$45\u003c/em>\u003c/p>\n\u003cp>Oakland’s Soulovely crosses the bridge during Pride weekend for a daytime outdoor block party that centers queer and trans people of color. The theme? “Queer Liberation Combat Boots the House Down Drag.” That means boots, berets, shirts repping activist causes or dressing in whatever way speaks to your definition of queer resistance. Soulovely is known for a hyped dance floor and eclectic music selection, and headlining this event is DJ and percussionist MTOORAY of No Nazar, the touring party that highlights global beats of the Middle Eastern, South Asian and African diaspora. Charles Hawthorne and La Femme Papi round out the lineup with perreo, dembow, house and a spectrum of uplifting, rump-shaking sounds.\u003c/p>\n\u003cfigure id=\"attachment_13914979\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg\" alt=\"Crowd with drag queen and furry in dog costume at center\" width=\"1920\" height=\"1395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE!’s Pride party in 2021. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-2024-celebrating-20-years-tickets-836331549177?\">Juanita MORE! Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 12–7 p.m.\u003cbr>\n620 Jones, San Francisco\u003cbr>\n$60\u003c/em>\u003c/p>\n\u003cp>Local drag legend, DJ and activist Juanita MORE! knows how to throw a party with a purpose, and she’s personally raised more than a million dollars for local queer organizations with her events over the past three decades. This year, her annual Pride blowout benefits LYRIC Center for LGTBQQ+ Youth, which offers young people job and housing resources and social support. Expect a fabulous soiree with drag, drinks and dancing for a righteous cause. Online presales have ended but you can still grab tickets at the door or at these \u003ca href=\"https://www.instagram.com/p/C6y33BnxDgY/\">select San Francisco locations\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960302\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg\" alt=\"\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Tori Meating performs onstage during MTV RuPaul’s Drag Race Season 16 Premiere Extravaganza Presented by ViiV Healthcare at Hammerstein Ballroom on January 04, 2024 in New York City. \u003ccite>(Santiago Felipe/Getty Images for MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/pride-sunday-w-amanda-tori-meating-hershii-liqcour-jete-tickets-913246223037?\">Pride Sunday with Amanda Tori Meating and Hershii Liqcour Jeté\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 8 p.m.–Monday, July 1, 2 a.m.\u003cbr>\nOasis, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco’s premier drag club, Oasis, is doing it big on Pride Sunday. Whether you need an afterparty for the main celebration or a place to dance after sleeping off Saturday’s festivities, Oasis has a stacked lineup of drag performers lip syncing every half hour. The headliners are Amanda Tori Meating and Hershii Liqcour Jeté of \u003ci>RuPaul’s Drag Race\u003c/i> Season 16 fame, who’ll be heading to Oasis after they perform on the main SF Pride stage, plus local drags of all genders: Snaxx, Vera!, Kochina Rude, Lisa Frankenstein, Melanie Sparksss, Loma Prietta and Siri. Go-go dancers will shake it all night as DJ Rubella Spreads keeps the house and disco beats pumping.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The gay high holy days are upon us as San Francisco prepares to host one of the biggest Pride celebrations on the globe. The draw for many is the star-studded, weekend-long \u003ca href=\"https://sfpride.org/\">SF Pride\u003c/a> celebration at Civic Center on June 29 and 30, which culminates in the parade on Sunday. For others, the highlight might be Friday’s more grassroots and protest-oriented \u003ca href=\"https://www.transmarch.org/\">Trans March\u003c/a> or Dyke Day at Dolores Park, where women and friends post up to picnic all afternoon. (Saturday’s official Dyke March is, unfortunately, \u003ca href=\"https://www.kqed.org/news/11992072/dyke-march-canceled-for-san-francisco-pride-organizers-say\">canceled this year\u003c/a>.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Surrounding all these festivities are block parties, kickbacks, raves and ragers that literally go from morning to night throughout the weekend. To help you plan, here’s our handy guide of 10 parties you shouldn’t miss, with a mix of events catering to different music tastes, vibes and LGBTQ+ identities.\u003c/p>\n\u003cp>Keep in mind that each of the venues mentioned on this list has a stacked schedule all weekend long. If these parties aren’t your thing, check out the venues’ websites or your favorite DJ or drag queen’s Instagram for other events to choose from.\u003c/p>\n\u003cp>And word to the wise: Stay hydrated, \u003ca href=\"https://fentcheck.org/check-your-drugs-2\">test your party favors\u003c/a>, practice safer sex, take care of your friends and remember to have fun!\u003c/p>\n\u003cfigure id=\"attachment_13915276\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915276\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56915_014_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Trans March makes its way along Market Street to a rally on Turk and Taylor in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://ticketstripe.com/bustinout24\">Bustin’ Out: Official Trans March After Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 6 p.m.–Saturday, June 29, 1:30 a.m.\u003cbr>\nEl Rio, San Francisco\u003cbr>\n$25\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friday’s annual Trans March feels like an organic gathering, true to Pride’s activist roots. With trans rights under attack nationwide, this pilgrimage from Dolores Park to the Tenderloin’s Transgender District is where gender-nonconforming people and allies take up space. Instead of corporate floats, you’ll find protest signs affirming the diversity of the gender spectrum and calling for equal rights to healthcare and housing. The annual Bustin’ Out afterparty at El Rio after the march is a benefit for Transgender Gender-Variant & Intersex Justice Project (TGIJP), an organization that fights prison abuses and supports formerly incarcerated trans people. DJ sets by Dreams, Succubus, Honeybear and Lady Ryan will turn up the energy, and there’ll be a designated chill zone next door at Mothership with music by Piano Rain and Del. San Francisco’s all-Black drag show, Reparations, will host performances. Presales have sold out, so getting there early to snag door tickets is a must.\u003c/p>\n\u003cfigure id=\"attachment_13936004\" class=\"wp-caption aligncenter\" style=\"max-width: 1288px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg\" alt=\"\" width=\"1288\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius.jpg 1288w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cornelius-768x432.jpg 768w\" sizes=\"(max-width: 1288px) 100vw, 1288px\">\u003cfigcaption class=\"wp-caption-text\">VivvyAnne ForeverMORE! \u003ccite>(Marcel Pardo Ariza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/forever-queer-pride-dancing-and-drag-tickets-915617696177?\">Forever-Queer Pride Dancing and Drag\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 2 a.m.\u003cbr>\nThe Stud, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>Legendary queer bar The Stud recently reopened its doors in SoMa, and drag performer Vivvyanne ForeverMORE! is kicking off a new party during Pride weekend: Forever. With performances by Clutch the Pearls co-founder Churro Nomi, Princess co-host Lisa Frankenstein, Major Hammy, Hands and Britney Smearz, this event celebrates the experimental and off-kilter style of drag The Stud is known for. DJs Infinite Jess and JUMPR will keep the dance floor going all night.\u003c/p>\n\u003cfigure id=\"attachment_13960292\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960292\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg\" alt=\"\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-615333066-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">UNiiQU3 performs at Webster Hall Thursdays on March 24, 2016. \u003ccite>(Nicky Digital/Corbis via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/club-ablunt-presents-just-us-pride-2024-w-uniiqu3-tickets-912343874087?\">Club A.B.L.U.N.T. Presents: Pride with UNIIQU3\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 10 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nMonarch, San Francisco\u003cbr>\n$20–$30\u003c/em>\u003c/p>\n\u003cp>UNIIQU3 has rocked massive festival stages, but CLUB A.B.L.U.N.T..’s pride party at Monarch offers the rare opportunity to experience her manic Jersey club beats in their optimal setting: while getting your life in a sweaty basement. This party’s stacked lineup features a dozen of the Bay’s top-tier DJs: experimental beatmaker Tomu DJ; Hard French founder Brown Amy; hyperpop connoisseur Freaky Emo; house music experts Charles Hawthorne and Floridawtr; and Black, who started A.B.L.U.N.T. (Asians, Blacks and Latins Uniting with Native Tribes), one of the first Bay Area parties to center queer people of color, back in the early ’90s. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/bearracuda-san-francisco-pride-2024-tickets-793750056787?\">Bearracuda\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Friday, June 28, 9 p.m.–Saturday, June 29, 3 a.m.\u003cbr>\nPublic Works, San Francisco\u003cbr>\n$30–$60\u003c/em>\u003c/p>\n\u003cp>If you’re looking for a celebration of beefy and burly men, look no further than Bearracuda on Friday night. This bear-centric event will take over the 1,000-capacity nightclub Public Works — and it promises to be a full house. As far as dress code, underwear is encouraged, and there will be a place to check your clothes (not just your coat). DJs David Harness, Mateo Segade and Philip Grasso — plus go-go dancers — will keep the crowd moving to house beats all night. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/hella-gay-sf-pride-after-party-tickets-927530176727?\">Hella Gay Pride Dance Party\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, June 29, 8 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nFirst Edition, Oakland\u003cbr>\n$10, $20\u003c/i>\u003c/p>\n\u003cp>Hella Gay was an Oakland queer party staple pre-pandemic, and it returns during Pride weekend at Oakland cocktail bar First Edition. East Bay dwellers now have a dance option that won’t have them scrambling to catch last BART or break the bank for an Uber from the City. DJs Homofongo, Kare Bear and Micahtron (who, full disclosure, booked me to DJ at First Edition once last year), will be spinning genre-bending sets of Afrobeats, dembow, house, hip-hop and more to get booties of all genders popping all night.\u003c/p>\n\u003cfigure id=\"attachment_13929153\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13929153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg\" alt=\"a drag performer in high heel red boots laughs as she performs outside for a crowd\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Mahlae-Balenciaga-by-Fred-Rowe-Oaklash-2022-1920x1280.jpeg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mahlae Balenciaga performs at Oaklash 2022. \u003ccite>(Fred Rowe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/drag-vs-burlesque-pride-show-tickets-914988313677?aff=ebdssbdestsearch\">Drag vs. Burlesque\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 9 p.m.–Sunday, June 30, 2 a.m.\u003cbr>\nThe White Horse, Oakland\u003cbr>\nFree\u003c/em>\u003c/p>\n\u003cp>Helmed by Queer Fem Parties, Drag vs. Burlesque promises a night of pole dancing and drag with femme performers of color at the center, and a lineup that celebrates all shapes and sizes. Expect gravity-defying moves and lip sync numbers alike from Lici Louboutin Makaveli, Ashanti Altovese, Nani Panther, Mari V, Mahlae Balenciaga and Qozmo the Clown, plus music by DJ Fredie.\u003c/p>\n\u003cfigure id=\"attachment_13930600\" class=\"wp-caption aligncenter\" style=\"max-width: 1636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13930600\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png\" alt=\"a large street party with a pink stage and a crowd of people dancing in front of it\" width=\"1636\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022.png 1636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Pink-Block-2022-1536x1021.png 1536w\" sizes=\"(max-width: 1636px) 100vw, 1636px\">\u003cfigcaption class=\"wp-caption-text\">The Pink Block party, 2022. \u003ccite>(Saylor Nedelman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/polyglamorous-pink-block-2024-tickets-828178543317?\">Polyglamorous Pink Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Saturday, June 29, 12 p.m.–Sunday, Jun3 30, 3 a.m.\u003cbr>\nThe Great Northern, San Francisco\u003cbr>\n$30–$110\u003c/em>\u003c/p>\n\u003cp>If you’re looking for rave vibes during Pride weekend, don’t sleep on the massive Polyglamorous block party. The all-day, all-night event boasts an enormous lineup of over 40 DJs and 12 drag performers. Daytime headliners include funky beat selector DJ Holographic, Scissor Sisters’ Ana Matronic and Olof Dreijer of The Knife; Massimiliano Pagliara — a driving force of Berlin’s disco revival — headlines after-dark festivities.\u003c/p>\n\u003cfigure id=\"attachment_13960303\" class=\"wp-caption aligncenter\" style=\"max-width: 1702px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960303\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg\" alt=\"\" width=\"1702\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-scaled.jpg 1702w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-800x1203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1020x1534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-768x1155.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1021x1536.jpg 1021w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1362x2048.jpg 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-923462530-1920x2887.jpg 1920w\" sizes=\"(max-width: 1702px) 100vw, 1702px\">\u003cfigcaption class=\"wp-caption-text\">MTooray plays dhol at Central Park SummerStage during the Basement Bhangra 20th Anniversary celebration, New York, New York, August 6, 2017. \u003ccite>( Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.tickettailor.com/events/soulovely/1230049\">Queer as in Uprising! Soulovely Pride Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 1–6 p.m.\u003cbr>\nVictory Hall & Parlor, San Francisco\u003cbr>\n$35–$45\u003c/em>\u003c/p>\n\u003cp>Oakland’s Soulovely crosses the bridge during Pride weekend for a daytime outdoor block party that centers queer and trans people of color. The theme? “Queer Liberation Combat Boots the House Down Drag.” That means boots, berets, shirts repping activist causes or dressing in whatever way speaks to your definition of queer resistance. Soulovely is known for a hyped dance floor and eclectic music selection, and headlining this event is DJ and percussionist MTOORAY of No Nazar, the touring party that highlights global beats of the Middle Eastern, South Asian and African diaspora. Charles Hawthorne and La Femme Papi round out the lineup with perreo, dembow, house and a spectrum of uplifting, rump-shaking sounds.\u003c/p>\n\u003cfigure id=\"attachment_13914979\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13914979\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg\" alt=\"Crowd with drag queen and furry in dog costume at center\" width=\"1920\" height=\"1395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/178-JMPride21-PhotobyGooch_COVER-1536x1116.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Juanita MORE!’s Pride party in 2021. \u003ccite>(Gooch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/juanita-more-pride-2024-celebrating-20-years-tickets-836331549177?\">Juanita MORE! Pride\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 12–7 p.m.\u003cbr>\n620 Jones, San Francisco\u003cbr>\n$60\u003c/em>\u003c/p>\n\u003cp>Local drag legend, DJ and activist Juanita MORE! knows how to throw a party with a purpose, and she’s personally raised more than a million dollars for local queer organizations with her events over the past three decades. This year, her annual Pride blowout benefits LYRIC Center for LGTBQQ+ Youth, which offers young people job and housing resources and social support. Expect a fabulous soiree with drag, drinks and dancing for a righteous cause. Online presales have ended but you can still grab tickets at the door or at these \u003ca href=\"https://www.instagram.com/p/C6y33BnxDgY/\">select San Francisco locations\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13960302\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg\" alt=\"\" width=\"1024\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-1909717219-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Tori Meating performs onstage during MTV RuPaul’s Drag Race Season 16 Premiere Extravaganza Presented by ViiV Healthcare at Hammerstein Ballroom on January 04, 2024 in New York City. \u003ccite>(Santiago Felipe/Getty Images for MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.eventbrite.com/e/pride-sunday-w-amanda-tori-meating-hershii-liqcour-jete-tickets-913246223037?\">Pride Sunday with Amanda Tori Meating and Hershii Liqcour Jeté\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sunday, June 30, 8 p.m.–Monday, July 1, 2 a.m.\u003cbr>\nOasis, San Francisco\u003cbr>\n$20\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco’s premier drag club, Oasis, is doing it big on Pride Sunday. Whether you need an afterparty for the main celebration or a place to dance after sleeping off Saturday’s festivities, Oasis has a stacked lineup of drag performers lip syncing every half hour. The headliners are Amanda Tori Meating and Hershii Liqcour Jeté of \u003ci>RuPaul’s Drag Race\u003c/i> Season 16 fame, who’ll be heading to Oasis after they perform on the main SF Pride stage, plus local drags of all genders: Snaxx, Vera!, Kochina Rude, Lisa Frankenstein, Melanie Sparksss, Loma Prietta and Siri. Go-go dancers will shake it all night as DJ Rubella Spreads keeps the house and disco beats pumping.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "megan-thee-stallion-stans-hotties-election-biden-trump-san-francisco",
"title": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates",
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"headTitle": "Megan Thee Stallion Stans Are Salty Over Their Choice of Candidates | 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 significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]M[/dropcap]egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n",
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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 significant pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>egan Thee Stallion fans from the Bay Area and beyond flocked to San Francisco’s Chase Center on June 23 for the rapper’s Hot Girl Summer Tour.\u003c/p>\n\u003cp>As anticipation filled the air outside the arena, we talked with Megan Thee Stallion fans, known as \u003ca href=\"https://www.complex.com/music/a/cmplxkishlal/megan-thee-stallion-fans\">Hotties\u003c/a>, about what they admire about the rap star — and, evidently, what they do \u003cem>not\u003c/em> admire about the candidates in the 2024 Presidential Election.\u003c/p>\n\u003cfigure id=\"attachment_13960247\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_31.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abby Nation (left) and her fiancé Emma Gray pose for a portrait outside the Chase Center on Sunday, June 23, 2024, during Megan Thee Stallion’s Hot Girl Summer Tour. Gray said Palestine is among the top concerns on her mind during this election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emma Gray, who lives near Stockton, came to see Megan Thee Stallion with her fiancé, Abby Nation. “It’s very disappointing that I don’t feel there is a candidate that I can trust to end genocide,” Gray said. “I would vote for a third party, [even if] I know it’s probably not going to result in that person being elected,” she explained. “But I’m also not going to put my vote to someone who is causing so much harm.”\u003c/p>\n\u003cfigure id=\"attachment_13960238\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_22.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Adrienne Williams, Erica Williams, Lauryn Major and Jasmine Cannon pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me, the most important thing is to free Palestine,” echoed Lauryn Major, who showed up to the concert with three of her friends. “That’s the only thing that I’m voting on this year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to Major’s comment, her friend Jasmine Cannon listed some of her priorities: “Ceasefire, reproductive rights, voting access, education, funding libraries, decriminalizing weed and other nonviolent crimes.”\u003c/p>\n\u003cfigure id=\"attachment_13960244\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_28.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian, who declined to give her last name, poses for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Christian considers President Biden her only option of the two leading candidates, but is conflicted due to his support of Israel. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Christian, who declined to give her last name, flew in for the show from Arkansas. She said she “doesn’t really like either of [the candidates], but Biden is better.” Still, she’s upset by Biden’s continued support of Israel and “sending money to help kill other people […] when we should be helping our citizens.”\u003c/p>\n\u003cfigure id=\"attachment_13960450\" class=\"wp-caption aligncenter\" style=\"max-width: 1746px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg\" alt=\"\" width=\"1746\" height=\"1280\" class=\"size-full wp-image-13960450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych.jpg 1746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStalliondiptych-1536x1126.jpg 1536w\" sizes=\"(max-width: 1746px) 100vw, 1746px\">\u003cfigcaption class=\"wp-caption-text\">Kierunya Davis, who brought a bouquet of flowers, poses in her custom Megan The Stallion-inspired outfit outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kierunya Davis flew in from Compton bearing gifts for Megan Thee Stallion, who later accepted them on stage. “White men do not speak for the majority,” Davis said. “We deserve better as brown and black people — for somebody to actually make promises and follow through.”\u003c/p>\n\u003cfigure id=\"attachment_13960236\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_20.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Cruz (left) and Katarina Ruiz pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Cruz has reproductive and immigration rights front of mind this election year. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Self-identified Hottie Alex Cruz said she’s anxious about the election, “especially with Roe v. Wade recently being overturned.” She said it’s “disappointing that Biden hasn’t been able to do more” regarding reproductive rights and immigration reform, but clarified that she is “probably just going to end up voting for him anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13960231\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960231\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_15.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mia Williams poses for a portrait in her Starfire superhero costume outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Williams isn’t happy with the choice of presidential candidates in the upcoming election. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mia Williams, from Seattle, also traveled hundreds of miles to see Megan Thee Stallion. “She stands up for body positivity and she helped push female rap to where it is,” Williams said.\u003c/p>\n\u003cp>When asked about the election, Williams was less hopeful. “I feel like regardless, it’s a bad choice,” she said. “I don’t know how [Joe Biden] could do another four years,” she said, “and [Donald Trump] is just a bigot.” She continued, “Also, he’s a felon now, so I don’t think a felon should be a president.”\u003c/p>\n\u003cfigure id=\"attachment_13960243\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960243\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_27.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mourice Grey (left) and Karl Daniels pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mourice Grey and Karl Daniels both live in San Leandro, and cited rent control, women’s rights and queer rights as their top concerns this year. “[Trump] broke the law, so he should not get the opportunity,” Daniels noted.\u003c/p>\n\u003cfigure id=\"attachment_13960242\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_26.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From Left: Iyobosa Igbinake, Ayah Benjamin, Aminah Benjamin, Ifela Hayes pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Benjamin has yet to decide if she’ll be voting this year, and said being a young person today is exhausting. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Decked out in Sailor Mars cosplay, Ayah Benjamin said she “hasn’t made a decision yet” on whether she will vote this year. “Capitalism and being a young person in society is genuinely exhausting,” she expressed with frustration. “Civil rights, humanitarian issues and obviously the genocides globally” are her primary concerns in this election.\u003c/p>\n\u003cfigure id=\"attachment_13960240\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960240\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_24.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Destiny Phan (left) and Jeneveive Kongkham pose for a portrait outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Megan Thee Stallion show at the Chase Center was Destiny Phan’s first concert. This year’s election will mark another first, as she’s finally old enough to vote. Phan said it’s been “hard to keep up” with politics this year.\u003c/p>\n\u003cfigure id=\"attachment_13960246\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240624_MeganTheeStallionPF_EG_30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tourean Barnes (right) poses for a portrait with his nephew Javonte Barnes outside the Chase Center during Megan Thee Stallion’s Hot Girl Summer Tour on Sunday, June 23, 2024. Tourean Barnes is unsure if he’ll vote in the next election and said he sees the two leading candidates as entertainers rather than presidents. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tourean Barnes was there to attend the concert with his nephew Javonte Barnes. “My main issue would be the stability of our democracy,” said Tourean, adding that the two front-running candidates are “more like entertainers than presidents.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: André 3000 Is Bringing His Flute to Oakland's Fox Theater",
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"content": "\u003cfigure id=\"attachment_13960259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville.jpg\" alt=\"Black and white image of rapper André 3000 wearing headphones.\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13960259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/11_Andre-Nashville-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Andre 3000. \u003ccite>(Gabe Drechsler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hip-hop legend André 3000 is bringing his flute back to the Bay Area: The former Outkast rapper’s \u003ca href=\"https://andre3000.com/\">just-announced fall tour\u003c/a> will hit Oakland’s Fox Theater on Oct. 5.\u003c/p>\n\u003cp>It’s Andre 3000’s second national tour for \u003cem>New Blue Sun\u003c/em>, the new-agey solo jazz album he released last fall. In February, he played a series of \u003ca href=\"https://48hills.org/2024/02/andre-3000-spoke-another-language-at-bimbos/\">vibey\u003c/a>, sold-out shows in \u003ca href=\"https://48hills.org/2024/02/flute-in-hand-andre-3000-returns-after-a-decade-to-conquer-the-bay/\">Berkeley\u003c/a> and \u003ca href=\"https://www.sfgate.com/sf-culture/article/andre-3000-concert-review-san-francisco-18678561.php\">San Francisco\u003c/a>.\u003c/p>\n\u003cp>This time, André 3000 and his band of Los Angeles jazz musicians will make just one Bay Area stop.\u003c/p>\n\u003cp>Here’s how to score seats: Tickets for the all-ages show \u003ca href=\"https://www.ticketmaster.com/event/1C0060D1BB5627B6?camefrom=CFC_ANOTHERPLANET_artist&brand=anotherplanet\">go on sale to the general public on Friday, Jun. 28, at 10 a.m.\u003c/a>, with reserved seating \u003ca href=\"https://thefoxoakland.com/events/andre-3000-241005\">starting at $59.50\u003c/a> plus fees. A \u003ca href=\"https://www.ticketmaster.com/event/1C0060D1BB5627B6?camefrom=CFC_ANOTHERPLANET_artist&brand=anotherplanet\">presale\u003c/a> for the show the Fox Theater will start on Thursday, Jun. 27, at 10 a.m., which can be unlocked using the presale code \u003cstrong>drexl\u003c/strong>. There will also be an artist presale starting on Wednesday, Jun. 26, at 10 a.m.\u003c/p>\n\u003cp>Full ticket sales and presales are listed \u003ca href=\"https://www.ticketmaster.com/event/1C0060D1BB5627B6?camefrom=CFC_ANOTHERPLANET_artist&brand=anotherplanet\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "A Victory Lap for Megan Thee Stallion at SF’s Chase Center",
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"content": "\u003cp>From the moment the lights went down at Chase Center in San Francisco, it was clear that Megan Thee Stallion was ready to leave it all on the floor for her Bay Area Hotties.\u003c/p>\n\u003cp>On June 23, the rap titan ascended on a platform during her trash-talking, latest No. 1 single, “\u003ca href=\"https://www.youtube.com/watch?v=XVgCLQ_JQfU\">HISS\u003c/a>,” delivering venomous bars a cappella as an enthusiastic crowd rapped along. The track clapped back at her former collaborator \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">Nicki Minaj\u003c/a> and Canadian menaces \u003ca href=\"https://www.rollingstone.com/music/music-news/drake-controversial-support-tory-lanez-megan-thee-stallion-shooting-appeal-1234975634/\">Drake\u003c/a> and \u003ca href=\"https://www.npr.org/2023/08/08/1181702809/tory-lanez-megan-thee-stallion\">Tory Lanez\u003c/a>, leaving no doubt that this tour represents a boisterous victory lap.\u003c/p>\n\u003cp>Megan Thee Stallion captured the zeitgeist in 2019 with her sex-positive lyricism and superhuman knee strength. After a global pandemic, \u003ca href=\"https://www.npr.org/2023/03/14/1163603837/megans-rule-being-exceptional-doesnt-make-you-the-exception\">surviving a shooting\u003c/a> and enduring a battle with her former record label, the rapper at long last embarked on her first headlining tour, flying her “Hot Girl Summer” banner across the country in support of her self-titled third studio album, due out Friday.\u003c/p>\n\u003cfigure id=\"attachment_13958683\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>The 26-song setlist covered a lot of ground, and had a lot of payoff for new and old-school fans alike. Megan Thee Stallion reached as far back as her 2017 track “\u003ca href=\"https://youtu.be/gvSD05Yu7Ig?si=195uTm3kfDZ6ZHtg\">Stalli (Freestyle)\u003c/a>,” where she questions the penmanship of her peers while impressively using the word “onomatopoeia” in her flow: “Your favorite rapper only use onomatopoeias / You don’t wanna hear it ’cause you only wanna see her.”\u003c/p>\n\u003cp>Superstardom has not been easy for the Houston rapper, who has received misogynistic and racist backlash following her breakthrough. “My motherfuckin’ body, my choice / Ain’t no lil’ dick takin’ my voice,” she rapped to the menacing beat of “\u003ca href=\"https://www.youtube.com/watch?v=oA9M928sL5Y\">Gift & A Curse\u003c/a>.” The roaring crowd echoed her words back in a moment that felt both timeless and extremely timely.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later in the night, fans of all genders, shapes and sizes — many dressed in their best cheek-baring outfits — joined her on stage for an epic twerk-off that celebrated individuality and pride in their bodies.\u003c/p>\n\u003cfigure id=\"attachment_13958607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958607\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>GloRilla, who delivered a high-octane opening set earlier in the night, returned to the stage to perform her addictive new track featuring Megan Thee Stallion, “\u003ca href=\"https://www.youtube.com/watch?v=BT_83vSP1es\">Wanna Be\u003c/a>.” The duo’s synergy elevated the cocky tune to new heights, and a symphony of “Go Meg!” and “Get ’em Glo!” chants erupted as they got low. [aside postid='arts_13960019']\u003c/p>\n\u003cp>Throughout the show, Megan Thee Stallion interacted with the crowd as if they were her best friends, which created some hilarious moments. A fan seemingly proposed to her with a banner: “Petite Black woman who will sign an NDA.” Another fan’s sign read “Both of my boyfriends are Captain Hook,” referencing the rapper’s explicit 2020 hit. “I’m jealous,” Thee Stallion commented after initially being taken aback — the best we can do is hope the boyfriends don’t mind sharing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the show drew to a close with Megan Thee Stallion’s gargantuan Beyoncé collaboration “\u003ca href=\"https://www.youtube.com/watch?v=lEIqjoO0-Bs\">Savage Remix\u003c/a>,” for which she had a cameo in the singer’s \u003cem>RENAISSANCE\u003c/em> tour film, all I could think about was what a huge triumph this tour has been for her. If anyone had any doubt that Megan Thee Stallion is an impeccable live performer, bar spitter, knee bender and entertainer, there’s no way they could’ve left Chase Center thinking anything but that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the moment the lights went down at Chase Center in San Francisco, it was clear that Megan Thee Stallion was ready to leave it all on the floor for her Bay Area Hotties.\u003c/p>\n\u003cp>On June 23, the rap titan ascended on a platform during her trash-talking, latest No. 1 single, “\u003ca href=\"https://www.youtube.com/watch?v=XVgCLQ_JQfU\">HISS\u003c/a>,” delivering venomous bars a cappella as an enthusiastic crowd rapped along. The track clapped back at her former collaborator \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">Nicki Minaj\u003c/a> and Canadian menaces \u003ca href=\"https://www.rollingstone.com/music/music-news/drake-controversial-support-tory-lanez-megan-thee-stallion-shooting-appeal-1234975634/\">Drake\u003c/a> and \u003ca href=\"https://www.npr.org/2023/08/08/1181702809/tory-lanez-megan-thee-stallion\">Tory Lanez\u003c/a>, leaving no doubt that this tour represents a boisterous victory lap.\u003c/p>\n\u003cp>Megan Thee Stallion captured the zeitgeist in 2019 with her sex-positive lyricism and superhuman knee strength. After a global pandemic, \u003ca href=\"https://www.npr.org/2023/03/14/1163603837/megans-rule-being-exceptional-doesnt-make-you-the-exception\">surviving a shooting\u003c/a> and enduring a battle with her former record label, the rapper at long last embarked on her first headlining tour, flying her “Hot Girl Summer” banner across the country in support of her self-titled third studio album, due out Friday.\u003c/p>\n\u003cfigure id=\"attachment_13958683\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_MeganTheeStallionMAIN_EG_34-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>The 26-song setlist covered a lot of ground, and had a lot of payoff for new and old-school fans alike. Megan Thee Stallion reached as far back as her 2017 track “\u003ca href=\"https://youtu.be/gvSD05Yu7Ig?si=195uTm3kfDZ6ZHtg\">Stalli (Freestyle)\u003c/a>,” where she questions the penmanship of her peers while impressively using the word “onomatopoeia” in her flow: “Your favorite rapper only use onomatopoeias / You don’t wanna hear it ’cause you only wanna see her.”\u003c/p>\n\u003cp>Superstardom has not been easy for the Houston rapper, who has received misogynistic and racist backlash following her breakthrough. “My motherfuckin’ body, my choice / Ain’t no lil’ dick takin’ my voice,” she rapped to the menacing beat of “\u003ca href=\"https://www.youtube.com/watch?v=oA9M928sL5Y\">Gift & A Curse\u003c/a>.” The roaring crowd echoed her words back in a moment that felt both timeless and extremely timely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later in the night, fans of all genders, shapes and sizes — many dressed in their best cheek-baring outfits — joined her on stage for an epic twerk-off that celebrated individuality and pride in their bodies.\u003c/p>\n\u003cfigure id=\"attachment_13958607\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958607\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/240524_BottleRock_EG_28-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at BottleRock Napa Valley festival on Friday, May 24, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>GloRilla, who delivered a high-octane opening set earlier in the night, returned to the stage to perform her addictive new track featuring Megan Thee Stallion, “\u003ca href=\"https://www.youtube.com/watch?v=BT_83vSP1es\">Wanna Be\u003c/a>.” The duo’s synergy elevated the cocky tune to new heights, and a symphony of “Go Meg!” and “Get ’em Glo!” chants erupted as they got low. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the show, Megan Thee Stallion interacted with the crowd as if they were her best friends, which created some hilarious moments. A fan seemingly proposed to her with a banner: “Petite Black woman who will sign an NDA.” Another fan’s sign read “Both of my boyfriends are Captain Hook,” referencing the rapper’s explicit 2020 hit. “I’m jealous,” Thee Stallion commented after initially being taken aback — the best we can do is hope the boyfriends don’t mind sharing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the show drew to a close with Megan Thee Stallion’s gargantuan Beyoncé collaboration “\u003ca href=\"https://www.youtube.com/watch?v=lEIqjoO0-Bs\">Savage Remix\u003c/a>,” for which she had a cameo in the singer’s \u003cem>RENAISSANCE\u003c/em> tour film, all I could think about was what a huge triumph this tour has been for her. If anyone had any doubt that Megan Thee Stallion is an impeccable live performer, bar spitter, knee bender and entertainer, there’s no way they could’ve left Chase Center thinking anything but that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the 1970s, as activists fought for gay liberation, Black power and women’s rights, a new sound hit dance floors from coast to coast: disco.\u003c/p>\n\u003cp>In the new PBS documentary \u003ca href=\"https://www.pbs.org/show/disco-soundtrack-of-a-revolution/\">\u003cem>Disco: Soundtrack of a Revolution \u003c/em>\u003c/a>(available now for streaming and on \u003ca href=\"https://www.kqed.org/tv/schedules/monthly\">KQED TV\u003c/a>), singers, DJs and cultural figures show how the music became a balm for oppression and created space for people of different backgrounds to let loose and get free. Despite whitewashing and backlash that followed disco’s explosion into the mainstream, its queer, Black roots continue to influence pop’s biggest stars.\u003c/p>\n\u003cp>To celebrate the documentary’s release, NPR’s \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">Corey Antonio Rose\u003c/a> and KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a> co-hosted a special panel discussion and performance in KQED’s San Francisco event space, The Commons. Singer and drag star \u003ca href=\"https://www.instagram.com/bebesweetbriar/?hl=en\">Bebe Sweetbriar\u003c/a> (who kicked off the night with a fiery lip sync) and \u003ca href=\"https://www.djpaulgoodyear.com/#/\">DJ Paul Goodyear\u003c/a>, aka SanFranDisko, walked us through disco’s transformation of nightlife and DJ culture, and how it catalyzed organizing and community care during the AIDS crisis. We spoke at length about Sylvester, the San Francisco disco star who paved the way for genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13960109\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Hawthorne and Rodney Barnette (left to right) discuss the past and present of queer nightlife spaces. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening, \u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">Rodney Barnette\u003c/a>, a former Black Panther, revealed that the disco scene wasn’t as utopian as it may seem. Queer people of color were regularly discriminated against, which prompted him to open the New Eagle Creek Saloon, San Francisco’s first Black-owned gay bar, in 1990. With the slogan “a friendly place with funky bass for every race,” the Eagle Creek became a social support system. \u003ca href=\"https://www.instagram.com/djcharleshawthorne/\">Charles Hawthorne\u003c/a>, a DJ who works with Oaklash and Nectar Social Club, chatted with Rodney about the current generation’s ways of carrying the torch and creating a truly inclusive queer culture.\u003c/p>\n\u003cp>The evening closed out with a live musical number from Bebe and a dance party. Watch the full program below.\u003c/p>\n\u003cdiv style=\"padding:56.25% 0 0 0;position:relative;\">\u003ciframe src=\"https://player.vimeo.com/video/960740891?h=354c2d35e3&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Disco's Mighty Real Bay Area Roots\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cscript src=\"https://player.vimeo.com/api/player.js\">\u003c/script>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1970s, as activists fought for gay liberation, Black power and women’s rights, a new sound hit dance floors from coast to coast: disco.\u003c/p>\n\u003cp>In the new PBS documentary \u003ca href=\"https://www.pbs.org/show/disco-soundtrack-of-a-revolution/\">\u003cem>Disco: Soundtrack of a Revolution \u003c/em>\u003c/a>(available now for streaming and on \u003ca href=\"https://www.kqed.org/tv/schedules/monthly\">KQED TV\u003c/a>), singers, DJs and cultural figures show how the music became a balm for oppression and created space for people of different backgrounds to let loose and get free. Despite whitewashing and backlash that followed disco’s explosion into the mainstream, its queer, Black roots continue to influence pop’s biggest stars.\u003c/p>\n\u003cp>To celebrate the documentary’s release, NPR’s \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">Corey Antonio Rose\u003c/a> and KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a> co-hosted a special panel discussion and performance in KQED’s San Francisco event space, The Commons. Singer and drag star \u003ca href=\"https://www.instagram.com/bebesweetbriar/?hl=en\">Bebe Sweetbriar\u003c/a> (who kicked off the night with a fiery lip sync) and \u003ca href=\"https://www.djpaulgoodyear.com/#/\">DJ Paul Goodyear\u003c/a>, aka SanFranDisko, walked us through disco’s transformation of nightlife and DJ culture, and how it catalyzed organizing and community care during the AIDS crisis. We spoke at length about Sylvester, the San Francisco disco star who paved the way for genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13960109\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Hawthorne and Rodney Barnette (left to right) discuss the past and present of queer nightlife spaces. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening, \u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">Rodney Barnette\u003c/a>, a former Black Panther, revealed that the disco scene wasn’t as utopian as it may seem. Queer people of color were regularly discriminated against, which prompted him to open the New Eagle Creek Saloon, San Francisco’s first Black-owned gay bar, in 1990. With the slogan “a friendly place with funky bass for every race,” the Eagle Creek became a social support system. \u003ca href=\"https://www.instagram.com/djcharleshawthorne/\">Charles Hawthorne\u003c/a>, a DJ who works with Oaklash and Nectar Social Club, chatted with Rodney about the current generation’s ways of carrying the torch and creating a truly inclusive queer culture.\u003c/p>\n\u003cp>The evening closed out with a live musical number from Bebe and a dance party. Watch the full program below.\u003c/p>\n\u003cdiv style=\"padding:56.25% 0 0 0;position:relative;\">\u003ciframe src=\"https://player.vimeo.com/video/960740891?h=354c2d35e3&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Disco's Mighty Real Bay Area Roots\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cscript src=\"https://player.vimeo.com/api/player.js\">\u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tyler, the Creator has canceled his headlining sets at \u003ca href=\"https://sfoutsidelands.com/\">San Francisco’s Outside Lands\u003c/a> and Chicago’s Lollapalooza, both slated for August.\u003c/p>\n\u003cp>“i made a commitment that i can no longer keep, and that bums me out knowing how excited folks were. that is not sexy at all. please please forgive me or call me names when you see me in person. love,” he wrote on X, formerly known as Twitter.\u003c/p>\n\u003cp>Outside Lands quickly announced that rising star Sabrina Carpenter will take Tyler’s place as the festival’s Saturday headliner when the annual festival returns to Golden Gate Park Aug. 9-11. She joins rock icons The Killers and country hitmaker Sturgill Simpson at the top of the bill.\u003c/p>\n\u003cp>Carpenter also announced her own headlining tour, which brings her to the Chase Center in San Francisco on Nov. 9. Tickets go on sale to the general public on Friday, June 28, while presale tickets go on sale Tuesday, June 25. Fans can currently sign up for ticket presale info by RSVPing on \u003ca href=\"https://store.sabrinacarpenter.com/pages/tour\">her tour site\u003c/a>.\u003c/p>\n\u003cp>Carpenter’s ultra-catchy “Espresso” and its \u003ca href=\"https://mashable.com/article/espresso-sabrina-carpenter-memes\">corresponding memes\u003c/a> have been inescapable this year. The lightly funky earworm contains a danceable groove and oddly memorable hook: “That’s that me espresso.” Hazy, sunny and perfect for day drinking, it’s a top contender for song of the summer (with a much different audience than the other obvious choice, Kendrick Lamar’s “\u003ca href=\"https://www.kqed.org/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth\">Not Like Us\u003c/a>“).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/eVli-tstM5E?si=OMQ6gPv-zDyhY0XY\u003c/p>\n\u003cp>Carpenter has spent past several years plotting her crossover from Disney to pop stardom, and recently followed “Espresso” with “Please Please Please,” another dance-pop banger with anthemic ’80s synths and tongue-in-cheek lyrics, this time about indulging in an ill-advised love affair against her better judgment. (Its kitschy, gangster flick-style music video stars Carpenter’s boyfriend, “\u003ca href=\"https://www.usatoday.com/story/entertainment/celebrities/2024/06/14/hot-rodent-men-summer/74093463007/\">hot rodent man\u003c/a>” archetype and \u003cem>Saltburn \u003c/em>star Barry Keoghan.) Expect to hear both tracks blasting at Pride parties everywhere throughout June.\u003c/p>\n\u003cp>Carpenter’s sixth studio album \u003cem>Short n’ Sweet\u003c/em> (a nod to her 4’11” stature and \u003ca href=\"https://x.com/scarpenterbr/status/1684285823586275331\">Polly Pocket look\u003c/a>) will be released Aug. 23, two weeks after her Outside Lands appearance.\u003c/p>\n\u003cp>https://youtu.be/cF1Na4AIecM?si=7irXq3tXc4ZfbAk5\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Outside Lands takes place Aug. 9-11 in San Francisco’s Golden Gate Park. Single-day tickets start at $199 plus fees; three-day tickets start at $465. \u003ca href=\"https://sfoutsidelands.com/tickets/\">Full lineup and details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tyler, the Creator has canceled his headlining sets at \u003ca href=\"https://sfoutsidelands.com/\">San Francisco’s Outside Lands\u003c/a> and Chicago’s Lollapalooza, both slated for August.\u003c/p>\n\u003cp>“i made a commitment that i can no longer keep, and that bums me out knowing how excited folks were. that is not sexy at all. please please forgive me or call me names when you see me in person. love,” he wrote on X, formerly known as Twitter.\u003c/p>\n\u003cp>Outside Lands quickly announced that rising star Sabrina Carpenter will take Tyler’s place as the festival’s Saturday headliner when the annual festival returns to Golden Gate Park Aug. 9-11. She joins rock icons The Killers and country hitmaker Sturgill Simpson at the top of the bill.\u003c/p>\n\u003cp>Carpenter also announced her own headlining tour, which brings her to the Chase Center in San Francisco on Nov. 9. Tickets go on sale to the general public on Friday, June 28, while presale tickets go on sale Tuesday, June 25. Fans can currently sign up for ticket presale info by RSVPing on \u003ca href=\"https://store.sabrinacarpenter.com/pages/tour\">her tour site\u003c/a>.\u003c/p>\n\u003cp>Carpenter’s ultra-catchy “Espresso” and its \u003ca href=\"https://mashable.com/article/espresso-sabrina-carpenter-memes\">corresponding memes\u003c/a> have been inescapable this year. The lightly funky earworm contains a danceable groove and oddly memorable hook: “That’s that me espresso.” Hazy, sunny and perfect for day drinking, it’s a top contender for song of the summer (with a much different audience than the other obvious choice, Kendrick Lamar’s “\u003ca href=\"https://www.kqed.org/arts/13960019/the-culture-kendrick-lamar-pop-out-juneteenth\">Not Like Us\u003c/a>“).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eVli-tstM5E'\n title='//www.youtube.com/embed/eVli-tstM5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Carpenter has spent past several years plotting her crossover from Disney to pop stardom, and recently followed “Espresso” with “Please Please Please,” another dance-pop banger with anthemic ’80s synths and tongue-in-cheek lyrics, this time about indulging in an ill-advised love affair against her better judgment. (Its kitschy, gangster flick-style music video stars Carpenter’s boyfriend, “\u003ca href=\"https://www.usatoday.com/story/entertainment/celebrities/2024/06/14/hot-rodent-men-summer/74093463007/\">hot rodent man\u003c/a>” archetype and \u003cem>Saltburn \u003c/em>star Barry Keoghan.) Expect to hear both tracks blasting at Pride parties everywhere throughout June.\u003c/p>\n\u003cp>Carpenter’s sixth studio album \u003cem>Short n’ Sweet\u003c/em> (a nod to her 4’11” stature and \u003ca href=\"https://x.com/scarpenterbr/status/1684285823586275331\">Polly Pocket look\u003c/a>) will be released Aug. 23, two weeks after her Outside Lands appearance.\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/cF1Na4AIecM'\n title='//www.youtube.com/embed/cF1Na4AIecM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Outside Lands takes place Aug. 9-11 in San Francisco’s Golden Gate Park. Single-day tickets start at $199 plus fees; three-day tickets start at $465. \u003ca href=\"https://sfoutsidelands.com/tickets/\">Full lineup and details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]T[/dropcap]here’s a difference between Black culture and American culture. Sometimes, they unfortunately get intertwined.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\"> In America, the coolness of being Black is often enmeshed with the ever-present danger of being Black. Big, beautiful smiles on African American children are a gauze for the gaping wounds caused by conditions from which many of them come. The strength and solidarity of Black love is too often held up in contrast to the hate this country has instilled in its people; our people.\u003c/p>\n\u003cp>Let’s dissect “the culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960027\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charity Nichols reads a book at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I celebrated Juneteenth with household chores and reading before sitting on the couch, oscillating between social media apps and double-tapping posts celebrating the anniversary of enslaved Africans in Texas learning that they’d been freed. In the background, my TV screen illuminated with images and music from \u003ca href=\"https://en.wikipedia.org/wiki/The_Pop_Out:_Ken_%26_Friends\">The Pop Out\u003c/a>, a one-day festival featuring hip-hop acts from Los Angeles, headlined by Kendrick Lamar.\u003c/p>\n\u003cp>Narrated \u003ca href=\"https://www.instagram.com/p/C8bJVTVu1sN/?img_index=1\" target=\"_blank\" rel=\"noopener\">by Vallejo’s E-40\u003c/a>, the event put Black inner-city culture of L.A. front and center: red and blue flags, Chuck Taylors, fingers twisting up as sets were repped and folks dancing– or rather walkin’– in honor of their hoods.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Younger artists like Westside Boogie and Kalan.FrFr performed on the same stage that Dr. Dre would later rock. Viewers were reminded that Problem now performs under his name JasonMartin, that Tommy The Clown has been putting in community work for over three decades, and that DJ Mustard’s extensive list of hits still slap.\u003c/p>\n\u003cfigure id=\"attachment_13960106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Kendrick hit the stage, opening with his track “Euphoria,” a six-minute diss song that dropped earlier this year, aimed at Canadian rapper Drake. The audience rapped along bar for bar. Kendrick then brought out his former TDE label-mates Jay Rock, Ab-Soul and ScHoolboy Q for hit songs like “Money Trees” and “Collard Greens.”\u003c/p>\n\u003cp>And then it was time for the mega-hit song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=T6eK-2OQtew\" target=\"_blank\" rel=\"noopener\">Not Like Us\u003c/a>.” Having grown from a Drake diss to a party anthem, “Not Like Us” is now part of the lexicon. “Sometimes you gotta pop out and show niggas” is the mantra for 2024.\u003c/p>\n\u003cp>With the song, and the event as a whole, Kendrick’s goal wasn’t solely to tarnish Drake’s reputation for speaking foul on the West Coast. Kendrick accomplished that handily by running back “Not Like Us” not once, not twice, but instead performing it five times in a row. His true aim went much higher: to use the region’s animosity of one man to unify the notoriously splintered communities of Southern California.\u003c/p>\n\u003cp>[aside postID='arts_13912853']“This shit making me emotional,” said Kendrick to the crowd, as a growing number of performers and professional athletes came on stage toward the end of the show. “We been fucked up since Nipsey died… we been fucked up since Kobe died.”\u003c/p>\n\u003cp>As people got into place for a group photo, Kendrick, wearing a red hoodie, glasses and a red Dodgers cap, continued to speak to the audience. “We done lost a lot of homies to this music shit, a lot of homies to this street shit. And for all of us to be on stage together, unity, from each side of muthafuckin’ L.A. — crips, bloods, pirus — that shit is special, man.”\u003c/p>\n\u003cp>All this at the Forum in Inglewood, where Kobe and Shaq carried on the legacy of the Showtime Lakers that Kareem and Magic created. A place where superstars like Prince and Whitney Houston gave legendary performances. And now, a historic showing of Black Los Angeles culture. On Juneteenth, nonetheless.\u003c/p>\n\u003cfigure id=\"attachment_13960030\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13960030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar assembles a historic group photo onstage at the Forum in Inglewood, California, June 19, 2024. \u003ccite>(Amazon Music / Twitch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]t was beautiful. It could’ve simply been a diss-track party. Instead, it illustrated how deeply committed Kendrick is to his community’s culture.\u003c/p>\n\u003cp>It also reminded me that he’s not one to shy away from critiquing it as well.\u003c/p>\n\u003cp>In 2022, ahead of the release of his album \u003cem>Mr. Morale & the Big Steppers\u003c/em>, Kendrick dropped the song “The Heart Part 5.” He opens the song candidly talking about conflicts of \u003cem>the culture\u003c/em>. “In a land where hurt people hurt people,” says Kendrick, “fuck calling it culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Parlet Cooper, Daja Herad, Omarri Beck, and Christian Johnson, pose for a portrait before the Kendrick Lamar Pop Out concert on Juneteenth at The Forum on Wednesday, June 19, 2024 in Inglewood, CA. \u003ccite>(Michael Blackshire / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kendrick didn’t perform that song last night, but I woke up thinking about it. It crossed my mind as I lay in bed scrolling social media, the sun rising on the first day of summer.\u003c/p>\n\u003cp>In my feed, images of people attending The Pop Out and joyous Juneteenth celebrations around the country collided with heinous videos showing multiple people shot in the aftermath of an event by Lake Merritt in Oakland.\u003c/p>\n\u003cp>According to reports, thousands of people were present. Many of them were young folks of color, Black people. I scrolled and saw clips of sunshine, food, music — people celebrating freedom. And then I heard recordings of gunshots, saw people ducking and diving, pools of blood and a limp body.\u003c/p>\n\u003cp>The culture.\u003c/p>\n\u003cfigure id=\"attachment_13960026\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Individuals dance at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just Oakland. There were also unfortunate shootings at or after recent Juneteenth celebrations in \u003ca href=\"https://www.wavy.com/news/local-news/norfolk/police-shooting-in-norfolk-at-the-800-e-olney-road/\" target=\"_blank\" rel=\"noopener\">Norfolk, Virginia\u003c/a>; \u003ca href=\"https://www.wisn.com/article/detective-opens-fire-on-shooter-who-killed-teen-at-milwaukee-park-after-juneteenth-event/61182147\" target=\"_blank\" rel=\"noopener\">Milwaukee, Wisconsin\u003c/a>; and \u003ca href=\"https://www.cbsnews.com/news/round-rock-texas-shooting-juneteenth-celebration/\" target=\"_blank\" rel=\"noopener\">in Texas, just north of Austin.\u003c/a>\u003c/p>\n\u003cp>As you read this, there are news outlets and social media pundits taking these examples of pain and framing them as an aspect of Black culture.\u003c/p>\n\u003cp>But it’s American culture.\u003c/p>\n\u003cp>Well, it’s American. I wouldn’t even call it culture. \u003cem>In a land where hurt people hurt people, fuck calling it culture.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960028\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A family eats together at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]K[/dropcap]endrick’s show at the Forum wasn’t perfect. There’s righteous critiques about the lack of women performing, and the platforming of Dr. Dre given\u003ca href=\"https://thegrio.com/2023/02/14/dr-dre-has-long-been-accused-of-violence-against-women-why-is-he-still-being-rewarded/\" target=\"_blank\" rel=\"noopener\"> his documented cases of domestic abuse\u003c/a>. There’s even the age-old notion that showcasing “gang culture” might lead others to want to be a part of that lifestyle.\u003c/p>\n\u003cp>But what our cousins to the south got \u003cem>right\u003c/em> was unity. That’s Black culture, that’s African diasporic culture. We come together as a people. For funerals, parties and more, we unify. Coming together to celebrate the downfall of a collective enemy — be it a culture vulture who poses as a pop star or the institution of slavery — Black folks come together.\u003c/p>\n\u003cp>But the question remains: how can we continue to be in community, and not let the very American culture of guns and violence continue to creep into our celebrations?\u003c/p>\n\u003cp>Communication. Community. Cultivating healthy methods of healing. Offering resources. Getting rid of the pervasive American war-bent mindset. We know what the answers are, but we haven’t shown that we can apply them en masse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I look forward to the day we collectively pop out, together — like Kendrick showed us — to celebrate Black culture.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>here’s a difference between Black culture and American culture. Sometimes, they unfortunately get intertwined.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\"> In America, the coolness of being Black is often enmeshed with the ever-present danger of being Black. Big, beautiful smiles on African American children are a gauze for the gaping wounds caused by conditions from which many of them come. The strength and solidarity of Black love is too often held up in contrast to the hate this country has instilled in its people; our people.\u003c/p>\n\u003cp>Let’s dissect “the culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960027\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-3-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Charity Nichols reads a book at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I celebrated Juneteenth with household chores and reading before sitting on the couch, oscillating between social media apps and double-tapping posts celebrating the anniversary of enslaved Africans in Texas learning that they’d been freed. In the background, my TV screen illuminated with images and music from \u003ca href=\"https://en.wikipedia.org/wiki/The_Pop_Out:_Ken_%26_Friends\">The Pop Out\u003c/a>, a one-day festival featuring hip-hop acts from Los Angeles, headlined by Kendrick Lamar.\u003c/p>\n\u003cp>Narrated \u003ca href=\"https://www.instagram.com/p/C8bJVTVu1sN/?img_index=1\" target=\"_blank\" rel=\"noopener\">by Vallejo’s E-40\u003c/a>, the event put Black inner-city culture of L.A. front and center: red and blue flags, Chuck Taylors, fingers twisting up as sets were repped and folks dancing– or rather walkin’– in honor of their hoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Younger artists like Westside Boogie and Kalan.FrFr performed on the same stage that Dr. Dre would later rock. Viewers were reminded that Problem now performs under his name JasonMartin, that Tommy The Clown has been putting in community work for over three decades, and that DJ Mustard’s extensive list of hits still slap.\u003c/p>\n\u003cfigure id=\"attachment_13960106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2158458558-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Kendrick hit the stage, opening with his track “Euphoria,” a six-minute diss song that dropped earlier this year, aimed at Canadian rapper Drake. The audience rapped along bar for bar. Kendrick then brought out his former TDE label-mates Jay Rock, Ab-Soul and ScHoolboy Q for hit songs like “Money Trees” and “Collard Greens.”\u003c/p>\n\u003cp>And then it was time for the mega-hit song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=T6eK-2OQtew\" target=\"_blank\" rel=\"noopener\">Not Like Us\u003c/a>.” Having grown from a Drake diss to a party anthem, “Not Like Us” is now part of the lexicon. “Sometimes you gotta pop out and show niggas” is the mantra for 2024.\u003c/p>\n\u003cp>With the song, and the event as a whole, Kendrick’s goal wasn’t solely to tarnish Drake’s reputation for speaking foul on the West Coast. Kendrick accomplished that handily by running back “Not Like Us” not once, not twice, but instead performing it five times in a row. His true aim went much higher: to use the region’s animosity of one man to unify the notoriously splintered communities of Southern California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This shit making me emotional,” said Kendrick to the crowd, as a growing number of performers and professional athletes came on stage toward the end of the show. “We been fucked up since Nipsey died… we been fucked up since Kobe died.”\u003c/p>\n\u003cp>As people got into place for a group photo, Kendrick, wearing a red hoodie, glasses and a red Dodgers cap, continued to speak to the audience. “We done lost a lot of homies to this music shit, a lot of homies to this street shit. And for all of us to be on stage together, unity, from each side of muthafuckin’ L.A. — crips, bloods, pirus — that shit is special, man.”\u003c/p>\n\u003cp>All this at the Forum in Inglewood, where Kobe and Shaq carried on the legacy of the Showtime Lakers that Kareem and Magic created. A place where superstars like Prince and Whitney Houston gave legendary performances. And now, a historic showing of Black Los Angeles culture. On Juneteenth, nonetheless.\u003c/p>\n\u003cfigure id=\"attachment_13960030\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg\" alt=\"\" width=\"1400\" height=\"933\" class=\"size-full wp-image-13960030\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/kendrick.popout.group_.amazonmusic.twitch-768x512.jpg 768w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar assembles a historic group photo onstage at the Forum in Inglewood, California, June 19, 2024. \u003ccite>(Amazon Music / Twitch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t was beautiful. It could’ve simply been a diss-track party. Instead, it illustrated how deeply committed Kendrick is to his community’s culture.\u003c/p>\n\u003cp>It also reminded me that he’s not one to shy away from critiquing it as well.\u003c/p>\n\u003cp>In 2022, ahead of the release of his album \u003cem>Mr. Morale & the Big Steppers\u003c/em>, Kendrick dropped the song “The Heart Part 5.” He opens the song candidly talking about conflicts of \u003cem>the culture\u003c/em>. “In a land where hurt people hurt people,” says Kendrick, “fuck calling it culture.”\u003c/p>\n\u003cfigure id=\"attachment_13960105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13960105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/GettyImages-2157939644-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Parlet Cooper, Daja Herad, Omarri Beck, and Christian Johnson, pose for a portrait before the Kendrick Lamar Pop Out concert on Juneteenth at The Forum on Wednesday, June 19, 2024 in Inglewood, CA. \u003ccite>(Michael Blackshire / Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kendrick didn’t perform that song last night, but I woke up thinking about it. It crossed my mind as I lay in bed scrolling social media, the sun rising on the first day of summer.\u003c/p>\n\u003cp>In my feed, images of people attending The Pop Out and joyous Juneteenth celebrations around the country collided with heinous videos showing multiple people shot in the aftermath of an event by Lake Merritt in Oakland.\u003c/p>\n\u003cp>According to reports, thousands of people were present. Many of them were young folks of color, Black people. I scrolled and saw clips of sunshine, food, music — people celebrating freedom. And then I heard recordings of gunshots, saw people ducking and diving, pools of blood and a limp body.\u003c/p>\n\u003cp>The culture.\u003c/p>\n\u003cfigure id=\"attachment_13960026\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/download-2-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Individuals dance at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This isn’t just Oakland. There were also unfortunate shootings at or after recent Juneteenth celebrations in \u003ca href=\"https://www.wavy.com/news/local-news/norfolk/police-shooting-in-norfolk-at-the-800-e-olney-road/\" target=\"_blank\" rel=\"noopener\">Norfolk, Virginia\u003c/a>; \u003ca href=\"https://www.wisn.com/article/detective-opens-fire-on-shooter-who-killed-teen-at-milwaukee-park-after-juneteenth-event/61182147\" target=\"_blank\" rel=\"noopener\">Milwaukee, Wisconsin\u003c/a>; and \u003ca href=\"https://www.cbsnews.com/news/round-rock-texas-shooting-juneteenth-celebration/\" target=\"_blank\" rel=\"noopener\">in Texas, just north of Austin.\u003c/a>\u003c/p>\n\u003cp>As you read this, there are news outlets and social media pundits taking these examples of pain and framing them as an aspect of Black culture.\u003c/p>\n\u003cp>But it’s American culture.\u003c/p>\n\u003cp>Well, it’s American. I wouldn’t even call it culture. \u003cem>In a land where hurt people hurt people, fuck calling it culture.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13960028\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13960028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/20240619_JuneteenthCookout_GC-44_scr-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A family eats together at the Hella Juneteenth ‘The Cookout’ at the Oakland Museum of California’s Garden on June 19, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">K\u003c/span>\u003c/p>\u003cp>endrick’s show at the Forum wasn’t perfect. There’s righteous critiques about the lack of women performing, and the platforming of Dr. Dre given\u003ca href=\"https://thegrio.com/2023/02/14/dr-dre-has-long-been-accused-of-violence-against-women-why-is-he-still-being-rewarded/\" target=\"_blank\" rel=\"noopener\"> his documented cases of domestic abuse\u003c/a>. There’s even the age-old notion that showcasing “gang culture” might lead others to want to be a part of that lifestyle.\u003c/p>\n\u003cp>But what our cousins to the south got \u003cem>right\u003c/em> was unity. That’s Black culture, that’s African diasporic culture. We come together as a people. For funerals, parties and more, we unify. Coming together to celebrate the downfall of a collective enemy — be it a culture vulture who poses as a pop star or the institution of slavery — Black folks come together.\u003c/p>\n\u003cp>But the question remains: how can we continue to be in community, and not let the very American culture of guns and violence continue to creep into our celebrations?\u003c/p>\n\u003cp>Communication. Community. Cultivating healthy methods of healing. Offering resources. Getting rid of the pervasive American war-bent mindset. We know what the answers are, but we haven’t shown that we can apply them en masse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I look forward to the day we collectively pop out, together — like Kendrick showed us — to celebrate Black culture.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sun Ra and Kronos Quartet Collide in the Spaceways",
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"headTitle": "Sun Ra and Kronos Quartet Collide in the Spaceways | KQED",
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"content": "\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='news_11941785']The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The outer space beings are my brothers. They sent me here.”\u003c/p>\n\u003cp>So spoke the composer and pianist Sun Ra, who famously claimed to have traveled from Saturn to bring a message of peace and love to Earth. Having first emerged in the Chicago jazz scene of the 1940s, Ra swiftly gained notoriety for his self-created sci-fi mythology, theatrical live shows and experimental musical instincts. Often in resplendent headgear suggestive of an Egyptian god, Ra was as gifted at writing indelible melodies (“Outer Spaceways Incorporated,” “Space is the Place”) as leading his “Arkestra” in freakouts like “Atlantis” and “The Magic City.”\u003c/p>\n\u003cp>Sooner or later, a composer with such an illustrious and eccentric career will cross paths with the \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\">Kronos Quartet\u003c/a>. Ra died in 1993, and never collaborated with the quartet during his lifetime. But his music fits perfectly with the avant-garde repertoire of the long-running San Francisco ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13959893\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nacio%CC%81n-Imago-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-04-Guadalajara-Mexico-credit-Nación-Imago-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Kronos Quartet performance in Guadalajara, Mexico. \u003ccite>(Nación Imago)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He feels like part of our posse of composers,” says founding Kronos member and first violinist David Harrington. “It feels very natural to be a part of his music and to create new limbs in the tree of our work. If he were around today, he would be in a Kronos rehearsal without any question, or we would be in a Sun Ra rehearsal without question.”\u003c/p>\n\u003cp>Ra’s compositions and Kronos’s strings form the core of \u003cem>Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra\u003c/em>, a collaboration with a host of guests from throughout the spectra of jazz, new music, and even EDM. The album includes interpretations of Ra’s compositions, pieces inspired by Ra written by other composers, and new works that use samples of Ra’s original recordings provided by Ra’s archivist, the outré-music scholar Irwin Chusid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The project was organized by John Carlin, founder of Red Hot, a New York-based nonprofit founded in 1990 known for organizing high-profile tribute albums to raise awareness of issues such as AIDS and climate change. This is Carlin’s fourth album honoring Ra, and the only one entirely in collaboration with Kronos, who first worked with Red Hot on the 2009 compilation \u003cem>Dark Was the Night\u003c/em>.\u003c/p>\n\u003cp>“David [Harrington] and I had a very particular agenda, which was to make sure that Sun Ra was thought of as a significant 20th century American composer,” says Carlin.\u003c/p>\n\u003cp>Carlin believes Ra’s emphasis on “the collective” rather than individual ego is one of the most important qualities in his work. As such, Carlin and the Quartet tapped a vast swath of collaborators from across the left-field music world to appear on the album.\u003c/p>\n\u003cfigure id=\"attachment_13959897\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg\" alt=\"A composite image of a man, seen from behind, walking into the galaxy of stars and nebulae\" width=\"1200\" height=\"1200\" class=\"size-full wp-image-13959897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos.OuterSpaceways-768x768.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for ‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra.’ \u003ccite>(Red Hot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marshall Allen, the saxophonist who at the age of 100 continues to lead Ra’s Arkestra with vigor and enthusiasm, appears. So do art-music legends Laurie Anderson and Terry Riley; electronic producers Jlin and RP Boo from the Chicago area’s highly experimental footwork scene; and Laraaji, who released some of the earliest ambient recordings in the 1970s and early 1980s both solo and in collaboration with Brian Eno.\u003c/p>\n\u003cp>Laraaji, who shared a bill with the Arkestra at Children’s Fairyland in Oakland last year, had the chance to see Sun Ra perform twice in the early 1980s. \u003c/p>\n\u003cp>“The dancers and the musicians all wore very bright, resplendent, cosmic-centric outfits,” the New York-based composer recalls. “And the music was nothing I could hum. It relaxed me from the rather straight, rigid Western compositional space that I had been educated in.”\u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1852828604/size=small/bgcol=ffffff/linkcol=0687f5/track=1836229666/transparent=true/\" seamless>\u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Outer Spaceways Incorporated : Kronos Quartet & Friends Meet Sun Ra by Georgia Anne Muldrow, Jacob Garchik\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Laraaji, like most of the album’s participants, did not work directly in person with the quartet. Rather, he sent his own remix of the Sun Ra track “Daddy’s Gonna Tell You No Lie” to Red Hot, who then sent it to the Quartet for further overdubbing. \u003c/p>\n\u003cp>The release, which also features Bay Area-based experimentalists Victoria Shen and Zachary James Watkins, comes at a transitional time for the quartet. Violinist John Sherba and violist Hank Dutt, the two other original members besides Harrington, will retire at the end of this month. The quartet has more albums recorded featuring the two departing members, so \u003cem>Outer Spaceways Incorporated\u003c/em> is not their final album together.\u003c/p>\n\u003cp>This year’s installment of the quartet’s annual Kronos Festival will, however, represent Sherba and Dutt’s final performances with the group. In addition to several pieces from \u003cem>Outer Spaceways Incorporated\u003c/em>, the program features works from new-music royalty like Riley, Philip Glass and Yoko Ono, plus collaborations with artists like Chinese pipa player Wu Man and Inuit throat singer Tanya Tagaq.\u003c/p>\n\u003cfigure id=\"attachment_13959896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg\" alt=\"\" width=\"1920\" height=\"1282\" class=\"size-full wp-image-13959896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kronos-Quartet-03-Musical-Instrument-Museum-credit-Musical-Instrument-Museum-1-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet perform at the Musical instrument Museum in Phoenix, Ariz. in 2020. \u003ccite>(Musical Instrument Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Harrington and cellist Paul Wiancko have been hard at work bringing the two new members, violinist Gabriela Díaz and violist Ayane Kozasa, on board. Rehearsals will continue through the summer and into the fall before the quartet resumes performing.\u003c/p>\n\u003cp>While a gig with one of America’s most prestigious musical ensembles is no easy task, Harrington says the two new recruits are more than a match for the challenge.\u003c/p>\n\u003cp>“It’s not a matter of bringing them up to speed,” says Harrington. “It’s a matter of keeping up with \u003cem>them\u003c/em>.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Outer Spaceways Incorporated: Kronos Quartet & Friends Meet Sun Ra’ will be released on June 21. \u003ca href=\"https://redhot.bandcamp.com/album/outer-spaceways-incorporated-kronos-quartet-friends-meet-sun-ra\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This year’s Kronos Festival runs four nights, June 20–23, at SFJAZZ in San Francisco. \u003ca href=\"https://kronosquartet.org/kronos-festival-2024/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dream-hampton-documentary-it-was-all-a-dream-90s-hip-hop-home-videost",
"title": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist",
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"headTitle": "‘It Was All a Dream’ Shows the Work of a Nascent Rap Feminist | KQED",
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"content": "\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>[aside postid='arts_13932030']During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>[aside postid='arts_13934460']hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>[aside postid='arts_13927349']These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>[aside postID='arts_13922141']Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a scene straight out of the Apollo Theater: A full band on stage, vamping a steady groove. Two female backup singers approaching the mic with a singing chant: “Cell-ski… Cell-ski…” And then, walking in from the wings and past the rhythm section, Cellski himself, launching into “It’s On,” the first track from his 1994 album \u003cem>Mr. Predicter\u003c/em>. \u003c/p>\n\u003cp>It was a February night earlier this year at a packed-to-the-gills Brick & Mortar Music Hall in San Francisco, but with the band in the pocket and Cellski on his game — and the crowd in the palm of his hand — the show felt timeless. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, Cellski’s back for a victory lap, and he’s bringing a lineup of rap veterans along. When he performs in San Francisco on Saturday, he’ll be joined by C-Bo, Dru Down, RBL Posse, D-Lo, J Stalin, B-Legit, Ramirez 187 and other special guests. \u003c/p>\n\u003cp>And then there’s the band, the \u003ca href=\"https://www.instagram.com/topchefsband/\">Top Chefs\u003c/a>, a tight ensemble of younger musicians from the Frisco collective \u003ca href=\"https://www.kqed.org/arts/tag/family-not-a-group\">Family Not a Group\u003c/a>. Part of what made the February show a success was its cross-generational aspect: today’s upcoming hip-hop artists backing up the legends and soaking up game.\u003c/p>\n\u003cp>With so many guests on this weekend’s bill, it’s unclear whether Cellski will perform \u003cem>Mr. Predicter\u003c/em> in its entirety, as he recently did to celebrate its 30th anniversary. But expect hits from the canon of San Francisco rap, tributes to the recently departed Lakeview rapper \u003ca href=\"https://www.youtube.com/watch?v=RfHv9mNs98Y\">Baldhead Rick\u003c/a>, and Cellski, a true street legend, leading the party. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Cellski performs with the Top Chefs and a slate of guests on Saturday, June 15, at the Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/chemical-baby-presents-cellski-friends-101696\">Tickets and details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"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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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"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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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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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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