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He’s just not sure where the primate came from.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“I forgot where I got him?” Stone muses. “Baboon store?”\u003c/p>\n\u003cp>His book, co-written with Ben Greenman, overflows with wit and wordplay befitting a maestro whose funkiest song with his band the Family Stone was “Thank You (Falettinme Be Mice Elf Agin)” — also the title of the book.\u003c/p>\n\u003cp>Born Sylvester Stewart in Texas and raised in Vallejo, he studied music composition at a junior college while working as a radio DJ, becoming known for his whimsical patter and eclectic playlists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GY_5CUmvpdw\u003c/p>\n\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>[aside postid='arts_13936226']Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>[aside postid='arts_13924126']“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\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/GY_5CUmvpdw'\n title='//www.youtube.com/embed/GY_5CUmvpdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Back That Azz Up, Oakland: Juvenile to Perform at the Fox Theater",
"headTitle": "Back That Azz Up, Oakland: Juvenile to Perform at the Fox Theater | KQED",
"content": "\u003cfigure id=\"attachment_13936542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Juvenile.full_.jpg\" alt=\"\" width=\"1920\" height=\"1297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-1536x1038.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Juvenile performs during the Collegrove Tour at the Oakland Arena on Nov. 10, 2016 in Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been nearly 25 years since New Orleans rapper Juvenile released his megahit “\u003ca href=\"https://www.youtube.com/watch?v=FYqmQPklI_0\">Back That Azz Up\u003c/a>.”\u003c/p>\n\u003cp>That means for a quarter-century now, people have been running to the dance floor at the sound of the strings that start one of the greatest hip-hop songs of all time. Produced by Mannie Fresh, the seductive beat and celebratory lyrics have provided a soundtrack for generations of folks looking to shake what their momma gave ’em. The song followed the smash single “\u003ca href=\"https://www.youtube.com/watch?v=Ww9VlmXKYgs\" target=\"_blank\" rel=\"noopener\">Ha\u003c/a>,” both off of Juvenile’s multiplatinum album \u003cem>400 Degrees\u003c/em>, which signified the rise of the Cash Money Records empire as they took over for the ’99 and the 2000.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nieYw00ee-Y\u003c/p>\n\u003cp>To celebrate the 25th anniversary of this landmark album, Juvenile, Mannie Fresh and an accompanying live band are scheduled to perform at the \u003ca href=\"https://www.foxtheateroakland.net/events/juvenile-20-october-2023/\" target=\"_blank\" rel=\"noopener\">Fox Theater in Oakland\u003c/a> this Friday, Oct. 20.\u003c/p>\n\u003cp>Juvenile, whose summer 2023 performance at \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> has racked up nearly six million views, has performed a few shows in the Bay Area before. Those include a \u003ca href=\"https://www.kqed.org/arts/11956265/heiro-day-2016-lineup-too-short-juvenile-invisibl-skratch-piklz-just-blaze-many-more\" target=\"_blank\" rel=\"noopener\">2016 Hiero Day set that filled the block\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zN6C9COoTZc\">KMEL’s Legends of Summer Jam concert\u003c/a> in 2014.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But a show that \u003cem>didn’t\u003c/em> fully happen — at the Oakland Arena in January of 2000, while Juvenile was part of the Cash Money group the Hot Boys — remains legendary.\u003c/p>\n\u003cp>[aside postID='arts_13923938']Before the Hot Boys set, multiple physical altercations erupted in the audience after a group of young men rushed toward the stage. Folding chairs were thrown, one person was pushed from the balcony and gunshots were reported inside and outside the venue. The concert was canceled on the spot.\u003c/p>\n\u003cp>Though the conflicts had nothing to do with Juvenile, the Hot Boys or Cash Money, that event left an indelible mark on their Bay Area fans.\u003c/p>\n\u003cp>“That was my first concert,” says the Da Boy Dame, Def Jam artist and A&R of Yo Gotti’s Collective Music Group (CMG). About 12 years old at the time, Dame and his cousins had received tickets to the concert as a Christmas gift. Excited, the whole crew coordinated their clothes in preparation for the show. “We all had our jean outfits, and we thought we was Cash Money that day,” he tells me on a recent phone call.\u003c/p>\n\u003cfigure id=\"attachment_13936543\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/img_8318_720.png\" alt=\"\" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/img_8318_720.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/img_8318_720-160x240.png 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Da Boy Dame, Def Jam artist and A&R of Yo Gotti’s Collective Music Group. \u003ccite>(Courtesy Da Boy Dame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dame recalls seeing the opening acts, the Ruff Ryders and Ginuwine. “The next thing you know, \u003ca href=\"http://www.cnn.com/2000/SHOWBIZ/Music/01/15/concert.fight/index.html\">Oakland made national CNN headlines\u003c/a>.”\u003c/p>\n\u003cp>Multiple outlets, including MTV and \u003cem>The Washington Post,\u003c/em> covered the unfortunate event, which resulted in approximately 25 injuries — and left a young Dame disappointed that he didn’t to see his favorite artists.\u003c/p>\n\u003cp>Decades later, Dame has helped orchestrate Juvenile’s return to Oakland at the Fox Theater on Friday, and is slated to be an opening performer. “That’s really why I always try to do things with Juvie and Mannie, because I feel like we never really got the chance to see it while everything was on fire,” he says.\u003c/p>\n\u003cp>[aside postID='news_11954252']In addition to an intimate set by Juvenile and Mannie Fresh, Dame says the show will feature a few special guest appearances from veteran Bay Area artists. For concertgoers looking to tap back into a landmark era for hip-hop, the show is guaranteed to to be a time machine.\u003c/p>\n\u003cp>“Twenty-five years ago — that was probably the best time in a lot of people’s lives,” says Dame. “I think this is going to be a time when people can relax and enjoy themselves and embrace the nostalgia of the music, the parties, and everything that came along with the ’99 and 2000.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Juvenile and Mannie Fresh perform with a live band on Friday, Oct. 20, at the Fox Theater in Oakland. \u003ca href=\"https://thefoxoakland.com/events/juvenile-231020\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936542\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Juvenile.full_.jpg\" alt=\"\" width=\"1920\" height=\"1297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Juvenile.full_-1536x1038.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Juvenile performs during the Collegrove Tour at the Oakland Arena on Nov. 10, 2016 in Oakland. \u003ccite>(Tim Mosenfelder/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been nearly 25 years since New Orleans rapper Juvenile released his megahit “\u003ca href=\"https://www.youtube.com/watch?v=FYqmQPklI_0\">Back That Azz Up\u003c/a>.”\u003c/p>\n\u003cp>That means for a quarter-century now, people have been running to the dance floor at the sound of the strings that start one of the greatest hip-hop songs of all time. Produced by Mannie Fresh, the seductive beat and celebratory lyrics have provided a soundtrack for generations of folks looking to shake what their momma gave ’em. The song followed the smash single “\u003ca href=\"https://www.youtube.com/watch?v=Ww9VlmXKYgs\" target=\"_blank\" rel=\"noopener\">Ha\u003c/a>,” both off of Juvenile’s multiplatinum album \u003cem>400 Degrees\u003c/em>, which signified the rise of the Cash Money Records empire as they took over for the ’99 and the 2000.\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/nieYw00ee-Y'\n title='//www.youtube.com/embed/nieYw00ee-Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To celebrate the 25th anniversary of this landmark album, Juvenile, Mannie Fresh and an accompanying live band are scheduled to perform at the \u003ca href=\"https://www.foxtheateroakland.net/events/juvenile-20-october-2023/\" target=\"_blank\" rel=\"noopener\">Fox Theater in Oakland\u003c/a> this Friday, Oct. 20.\u003c/p>\n\u003cp>Juvenile, whose summer 2023 performance at \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ\" target=\"_blank\" rel=\"noopener\">NPR’s Tiny Desk\u003c/a> has racked up nearly six million views, has performed a few shows in the Bay Area before. Those include a \u003ca href=\"https://www.kqed.org/arts/11956265/heiro-day-2016-lineup-too-short-juvenile-invisibl-skratch-piklz-just-blaze-many-more\" target=\"_blank\" rel=\"noopener\">2016 Hiero Day set that filled the block\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=zN6C9COoTZc\">KMEL’s Legends of Summer Jam concert\u003c/a> in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But a show that \u003cem>didn’t\u003c/em> fully happen — at the Oakland Arena in January of 2000, while Juvenile was part of the Cash Money group the Hot Boys — remains legendary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before the Hot Boys set, multiple physical altercations erupted in the audience after a group of young men rushed toward the stage. Folding chairs were thrown, one person was pushed from the balcony and gunshots were reported inside and outside the venue. The concert was canceled on the spot.\u003c/p>\n\u003cp>Though the conflicts had nothing to do with Juvenile, the Hot Boys or Cash Money, that event left an indelible mark on their Bay Area fans.\u003c/p>\n\u003cp>“That was my first concert,” says the Da Boy Dame, Def Jam artist and A&R of Yo Gotti’s Collective Music Group (CMG). About 12 years old at the time, Dame and his cousins had received tickets to the concert as a Christmas gift. Excited, the whole crew coordinated their clothes in preparation for the show. “We all had our jean outfits, and we thought we was Cash Money that day,” he tells me on a recent phone call.\u003c/p>\n\u003cfigure id=\"attachment_13936543\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936543\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/img_8318_720.png\" alt=\"\" width=\"480\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/img_8318_720.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/img_8318_720-160x240.png 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Da Boy Dame, Def Jam artist and A&R of Yo Gotti’s Collective Music Group. \u003ccite>(Courtesy Da Boy Dame)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dame recalls seeing the opening acts, the Ruff Ryders and Ginuwine. “The next thing you know, \u003ca href=\"http://www.cnn.com/2000/SHOWBIZ/Music/01/15/concert.fight/index.html\">Oakland made national CNN headlines\u003c/a>.”\u003c/p>\n\u003cp>Multiple outlets, including MTV and \u003cem>The Washington Post,\u003c/em> covered the unfortunate event, which resulted in approximately 25 injuries — and left a young Dame disappointed that he didn’t to see his favorite artists.\u003c/p>\n\u003cp>Decades later, Dame has helped orchestrate Juvenile’s return to Oakland at the Fox Theater on Friday, and is slated to be an opening performer. “That’s really why I always try to do things with Juvie and Mannie, because I feel like we never really got the chance to see it while everything was on fire,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to an intimate set by Juvenile and Mannie Fresh, Dame says the show will feature a few special guest appearances from veteran Bay Area artists. For concertgoers looking to tap back into a landmark era for hip-hop, the show is guaranteed to to be a time machine.\u003c/p>\n\u003cp>“Twenty-five years ago — that was probably the best time in a lot of people’s lives,” says Dame. “I think this is going to be a time when people can relax and enjoy themselves and embrace the nostalgia of the music, the parties, and everything that came along with the ’99 and 2000.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Juvenile and Mannie Fresh perform with a live band on Friday, Oct. 20, at the Fox Theater in Oakland. \u003ca href=\"https://thefoxoakland.com/events/juvenile-231020\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Idiotic and Cruel': Musicians Slam Layoffs at Bandcamp, Union Files Complaint",
"headTitle": "‘Idiotic and Cruel’: Musicians Slam Layoffs at Bandcamp, Union Files Complaint | KQED",
"content": "\u003cp>\u003cstrong>Update, Oct. 31, 2023: \u003c/strong>Employee union Bandcamp United – OPEIU Tech Local 1010 has filed a complaint against Songtradr and Epic Games with the National Labor Relations Board for laying off all eight bargaining committee members earlier this month. The union alleges discrimination on the basis of labor activity. In a statement, Bandcamp United said that it is calling for employment offers for all workers; equitable voluntary severance offers; and recognition of the union at Songtradr and a return to bargaining.\u003c/p>\n\u003cp>\u003cstrong>Update, Oct. 17, 2023: \u003c/strong>Ed Blair, a bargaining committee member of employee union Bandcamp United, told KQED that 40 members of the 67-person union lost their jobs in Bandcamp’s layoffs on Oct. 16. That number includes the entire bargaining committee of the union, which sought recognition from parent company Songtradr before the job cuts.\u003c/p>\n\u003cp>“So many people put their blood, sweat and tears and their whole heart into making this the best possible place to work that it could have been,” Blair said. “And I am concerned about the future because it seems very uncertain, and it feels to me that core parts, like an incalculable amount of core parts of the company, are gone now.”\u003c/p>\n\u003cp>Blair said Bandcamp United is still organizing and will post updates on its \u003ca href=\"https://twitter.com/bandcampunited\">X\u003c/a> and \u003ca href=\"https://www.instagram.com/bandcampunited\">Instagram accounts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, Oct. 16, 2023:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians and music journalists across the country are reeling from the announcement that Bandcamp, an online music marketplace headquartered in Oakland, cut 50% of its staff on Monday.\u003c/p>\n\u003cp>Among those who lost their jobs were a majority of the writers and editors at the publication Bandcamp Daily. On the social media platform X, \u003ca href=\"https://twitter.com/modernistwitch/status/1713956664636793288\">former senior editor JJ Skolnik\u003c/a> said only three members of the editorial staff remain.\u003c/p>\n\u003cp>https://twitter.com/modernistwitch/status/1713962311579234428\u003c/p>\n\u003cp>“Unsurprisingly there has been no humanity extended in this process. Our union will prosper though,” wrote former Bandcamp employee \u003ca href=\"https://x.com/atoosamoinzadeh/status/1713959602423812445?s=20\">Atoosa Moinzadeh on X\u003c/a>. Bandcamp Daily’s job cuts echo a trend of media layoffs, as publications such as Vice, \u003ci>The Washington Post\u003c/i>, Vox and Okayplayer slashed hundreds of positions this year. (Full disclosure: This reporter wrote an article for Bandcamp Daily as a freelancer in 2017.)\u003c/p>\n\u003cp>News of the layoffs arrived just two weeks after the music licensing company Songtradr bought Bandcamp from Epic Games, which had purchased the company from its original founder in March 2022. A Songtradr spokesperson confirmed the job cuts in a statement to the \u003ca href=\"https://sfstandard.com/2023/10/16/bandcamp-layoffs-oakland-music-company/\">SF Standard\u003c/a>.\u003c/p>\n\u003cp>“After a comprehensive evaluation, including the importance of roles for smooth business operations and pre-existing functions at Songtradr, 50% of Bandcamp employees have accepted offers to join Songtradr,” said Lindsay Nahmiache, a Songtradr spokesperson.\u003c/p>\n\u003cp>It’s unclear how many Bandcamp employees were laid off. A Bandcamp spokesperson and Bandcamp United, the employee union, did not respond to KQED’s requests for comment as of publication time. The future of Bandcamp’s downtown Oakland venue, which regularly hosts concerts and events, is also unclear.\u003c/p>\n\u003cp>The layoffs at Bandcamp prompted outcry on social media from listeners and independent musicians, who favor the platform because of its artist-friendly business model. Bandcamp allows musicians to keep 82% of proceeds from their music, while streaming companies like Spotify pay artists a fraction of a penny per stream. Since its founding in 2008, Bandcamp has attracted a following of conscious consumers who take pride in supporting their favorite artists.\u003c/p>\n\u003cp>In contrast, Songtradr is a B2B (business-to-business) company that allows musicians to license their music to brands and content creators.\u003c/p>\n\u003cp>https://twitter.com/mountain_goats/status/1714015442363109841\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“God this is frustrating. Bandcamp was an unalloyed good in the music business,” the Mountain Goats wrote on X.\u003c/p>\n\u003cp>“Claiming that firing half your staff, many of whom have been longstanding, beloved members of our community, is just ‘business as usual’ is unbelievably idiotic and cruel,” posted the band \u003ca href=\"https://x.com/deerhoof/status/1714014995808501930?s=20\">Deerhoof\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Oct. 31, 2023: \u003c/strong>Employee union Bandcamp United – OPEIU Tech Local 1010 has filed a complaint against Songtradr and Epic Games with the National Labor Relations Board for laying off all eight bargaining committee members earlier this month. The union alleges discrimination on the basis of labor activity. In a statement, Bandcamp United said that it is calling for employment offers for all workers; equitable voluntary severance offers; and recognition of the union at Songtradr and a return to bargaining.\u003c/p>\n\u003cp>\u003cstrong>Update, Oct. 17, 2023: \u003c/strong>Ed Blair, a bargaining committee member of employee union Bandcamp United, told KQED that 40 members of the 67-person union lost their jobs in Bandcamp’s layoffs on Oct. 16. That number includes the entire bargaining committee of the union, which sought recognition from parent company Songtradr before the job cuts.\u003c/p>\n\u003cp>“So many people put their blood, sweat and tears and their whole heart into making this the best possible place to work that it could have been,” Blair said. “And I am concerned about the future because it seems very uncertain, and it feels to me that core parts, like an incalculable amount of core parts of the company, are gone now.”\u003c/p>\n\u003cp>Blair said Bandcamp United is still organizing and will post updates on its \u003ca href=\"https://twitter.com/bandcampunited\">X\u003c/a> and \u003ca href=\"https://www.instagram.com/bandcampunited\">Instagram accounts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, Oct. 16, 2023:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Musicians and music journalists across the country are reeling from the announcement that Bandcamp, an online music marketplace headquartered in Oakland, cut 50% of its staff on Monday.\u003c/p>\n\u003cp>Among those who lost their jobs were a majority of the writers and editors at the publication Bandcamp Daily. On the social media platform X, \u003ca href=\"https://twitter.com/modernistwitch/status/1713956664636793288\">former senior editor JJ Skolnik\u003c/a> said only three members of the editorial staff remain.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Unsurprisingly there has been no humanity extended in this process. Our union will prosper though,” wrote former Bandcamp employee \u003ca href=\"https://x.com/atoosamoinzadeh/status/1713959602423812445?s=20\">Atoosa Moinzadeh on X\u003c/a>. Bandcamp Daily’s job cuts echo a trend of media layoffs, as publications such as Vice, \u003ci>The Washington Post\u003c/i>, Vox and Okayplayer slashed hundreds of positions this year. (Full disclosure: This reporter wrote an article for Bandcamp Daily as a freelancer in 2017.)\u003c/p>\n\u003cp>News of the layoffs arrived just two weeks after the music licensing company Songtradr bought Bandcamp from Epic Games, which had purchased the company from its original founder in March 2022. A Songtradr spokesperson confirmed the job cuts in a statement to the \u003ca href=\"https://sfstandard.com/2023/10/16/bandcamp-layoffs-oakland-music-company/\">SF Standard\u003c/a>.\u003c/p>\n\u003cp>“After a comprehensive evaluation, including the importance of roles for smooth business operations and pre-existing functions at Songtradr, 50% of Bandcamp employees have accepted offers to join Songtradr,” said Lindsay Nahmiache, a Songtradr spokesperson.\u003c/p>\n\u003cp>It’s unclear how many Bandcamp employees were laid off. A Bandcamp spokesperson and Bandcamp United, the employee union, did not respond to KQED’s requests for comment as of publication time. The future of Bandcamp’s downtown Oakland venue, which regularly hosts concerts and events, is also unclear.\u003c/p>\n\u003cp>The layoffs at Bandcamp prompted outcry on social media from listeners and independent musicians, who favor the platform because of its artist-friendly business model. Bandcamp allows musicians to keep 82% of proceeds from their music, while streaming companies like Spotify pay artists a fraction of a penny per stream. Since its founding in 2008, Bandcamp has attracted a following of conscious consumers who take pride in supporting their favorite artists.\u003c/p>\n\u003cp>In contrast, Songtradr is a B2B (business-to-business) company that allows musicians to license their music to brands and content creators.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>“God this is frustrating. Bandcamp was an unalloyed good in the music business,” the Mountain Goats wrote on X.\u003c/p>\n\u003cp>“Claiming that firing half your staff, many of whom have been longstanding, beloved members of our community, is just ‘business as usual’ is unbelievably idiotic and cruel,” posted the band \u003ca href=\"https://x.com/deerhoof/status/1714014995808501930?s=20\">Deerhoof\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour",
"headTitle": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour | KQED",
"content": "\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>[aside postID='arts_13936015']With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A sea of black outfits, sombreros and Mexican pride greeted Peso Pluma's Doble P tour at San Jose's SAP Center.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House",
"headTitle": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House | KQED",
"content": "\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>[aside postid='arts_13874070']As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>[aside postid='arts_13936189']It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hyphy Kids Got Trauma Pt. 4, ‘My Generation's Report Card’",
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"content": "\u003cp style=\"text-align: left\">\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp style=\"text-align: left\">Despite the uptempo party music and the perception of free-spirited fun, it’s clear that 2006 was a violent year in my Northern Californian community. But until recently, I hadn’t stopped to consider the bigger picture.\u003c/p>\n\u003cp>By stepping back and looking at the issues impacting the kids of the Bay Area in the early 2000s, during the hyphy movement, I realized two things:\u003c/p>\n\u003cp>First, those issues– violence and crime, as well as poverty, sexism, racism, and other forms of discrimination– are no different from the issues we’re facing today. Secondly, if you look closely enough, you’ll see that these issues are rooted in capitalism and imperialism.\u003c/p>\n\u003cp>In this episode we talk to \u003ca href=\"https://lee.house.gov/\" target=\"_blank\" rel=\"noopener\">Congresswoman Barbara Lee\u003c/a>, who represents the East Bay, about her history of dealing with these issues while serving this community for the past 25 years.\u003c/p>\n\u003cp>We hear from \u003ca href=\"https://www.instagram.com/rich_iyala/?hl=en\" target=\"_blank\" rel=\"noopener\">Rich Iyala,\u003c/a> a younger San Francisco based artist who grew up in the shadow of the hyphy movement and wrote a song that inspired multiple aerosol artists to write tags that read, “\u003ca href=\"https://www.instagram.com/p/BhDq8RwhU7z/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener\">hyphy children got trauma(s)\u003c/a>” and “\u003ca href=\"https://www.instagram.com/p/BwkH97cH-nZ/\" target=\"_blank\" rel=\"noopener\">hyphy kids got trauma\u003c/a>.”\u003c/p>\n\u003cp>We also hear from a senior at Oakland’s Fremont High school, T’Jon, who was born in 2006. During a recent interview with filmmaker Boots Riley for KDOL’s show \u003ca href=\"https://www.instagram.com/thetowntalks/\" target=\"_blank\" rel=\"noopener\">The Town Talks\u003c/a>, T’Jon shares his thoughts about the power of art, culture and community, as exemplified by the hyphy movement.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Heads up, this podcast contains explicit language.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">All throughout my life, even before becoming a journalist, I’ve kept a journal. I still have every single notebook, and there’s over 60 of ‘em. Hella chicken scratch on yellow legal pads, little windows into my mindstate and notes on what was going on around me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While working on this project, I looked back a few from 2006. An entry from July of that year reads,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hyphy/ Metros/ Purple/ Jordans/ And Bathing Ape Hoodies/ Bootleg movies/ Turf Dancers/ speakers in the grill of scrapers/ cut the dreads off/ return to fading/ faded. Dark liquor and shit/ bus fare is $1.10/ and that 10 cents kills it/ Rather do it that way/ than to put $3.00 a gallon/ in the tank/ unless you got candy paint and dubs on yo thang/ don’t even come out to play/ I mean I mean, the word is geese/ geeks/ smirkish streets/ clean = wet/ O.G. thers = Vet/ stay safe = you blessed/ So many laid to rest, I done seen RIP on every piece of clothing except a prom dress…”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between these little scribbles were phone numbers and doodles– a bunch of crude self portraits drawn in pen. And there’s even a “To Do list” I wrote just before leaving Oakland, for Howard University. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Muffled sounds of shuffling paper] “\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Before I leave for Washington, D.C: Finish the Zeus DVD, go to a baseball game, get three fitted caps, two pair of jeans…”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of distant and lively chatter outdoors]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I spent the fall of 2006 in Washington D.C., adjusting to the weather and the social climate of the east coast. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I loved the diversity within the Black community on campus. There’s nothing like attending an HBCU. Dudes with gold ones and locs, pursuing their PhDs. Women in business suits, with Wall Street connections and fly hairdos. Weedheads who didn’t do anything but sit on the same bench stoned every day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was cool with em all, as well as the Cali club crew, a few D.C. folks and the poets, but I was still going through culture shock. I was hella far away from the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one party I got laughed at for wearing glasses with no lenses, and in class, folks looked at me weird for rocking a hoodie with a picture of my deceased friend’s face on it. I grew homesick, and I left school and took an extended Thanksgiving break back in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Covered in hugs from the people I love, I was happy to be home. But toward the end of my trip, I was walking out of my mom’s house, as I closed the gate, looked down the street, and saw police lights and yellow tape. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the time I got to my cousin’s house, a five minute drive if you catch every green light, word had spread: Marcel Campbell, a friend who we called Cell, had been killed.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Considered a young OG, Cell was more mature than his age,\u003c/span>\u003cspan style=\"font-weight: 400\"> both through his fashion – peacoats and casual shoes, as well as through his temperament – ever cool. A short brotha with long locs, he’d share wisdom through jokes, shaking your hand while talking to you — simultaneous conversation and affirmation. He was yet another young person gone too soon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I didn’t get to attend Cell’s memorial. I had to head back to school soon after we got the news of his passing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I left the streets of the East Bay, headed back to the east coast for those final weeks of 2006. Looking out the airplane window and scribbling in my journal, I wrote a poem using the idea of a bridge as a metaphor for the shaky grounds my community was standing on. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some would say never burn a bridge\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But they never tell you to check on it/ make sure that it holds\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The wind, the rain/ the heat and the snow\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The moment I know\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This infrastructure isn’t conducting\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reason why it was constructed\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bolts loosen/ the poles start to rust and\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Weak links in the chain\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bridge ain’t standing the same\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lord forbid/ this bridge/ fall back into the Bay\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw, and this is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hyphy Kids Got Trauma\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While taking classes at Howard, I saw that Washington D.C. – almost three-thousand miles away from Oakland – was a world removed from scraper bikes and hyphy trains. By stepping outside of my Bay Area bubble, I was exposed to broader issues impacting the world. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And being in the nation’s capital, I was also closer to the elected officials who are in the seat of power in this country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not far from my dorm room there was someone else from Oakland who was also thinking about the bigger issues impacting this \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">generation, with a special focus on the people from the East Bay… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Congresswoman Barbara Lee, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I am Congresswoman Barbara Lee and I represent the 12th Congressional District.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rep. Lee’s district is in Alameda county, which includes the East Bay cities of Oakland, Berkeley, and more. She tells me that she appreciates what hip-hop artists have done for the region. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a really cool culture in Oakland\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And she sees how legislation has impacted the way of life for a generation of kids from the region she represents. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s really sad because this is the Bay Area and we shouldn’t have policies that allow for gentrification, but that… that happened.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">When Congresswoman Lee entered office in April of 1998, Black folks accounted for \u003c/span>\u003ca href=\"http://www.bayareacensus.ca.gov/cities/Oakland.htm\">\u003cspan style=\"font-weight: 400\">nearly 40% of Oakland’s population\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The most recent Census reports that Oakland’s Black population is down to about 20%. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back at the turn of the millennium, when I was a teen living in the wake of the 9/11 attacks on the U.S., it was Representative Lee’s vote – the sole ballot cast against going to war in Afghanistan – that introduced me to her work.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the years, I’ve watched as she’s championed reproductive health and combated racism. She’s fought for the rights of Black folks here and abroad, and represented her region at every turn. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While no person – especially a politician – is perfect, I’ve appreciated how she’s been critical of systemic racism and imperialism. She’s pushed for low-income housing, organized against air pollutants, and fought against the hyper-policing of Black people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even with these efforts over the years, Rep. Lee realizes that all of these layers of issues created a world where it’s damn near impossible for people to walk around unscathed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I can understand the environment and the context of what was taking place during that time. In terms of the political environment, that causes a lot of anxiety. And a lot of, I don’t want to say depression, but quite a bit of pessimism, and uncertainty about where this country and where the world is going. Just like now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before even considering stats and numerical breakdowns of crime, poverty and the like, we have to start with the mindstate of folks at the time we’re talking about, 2006. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These hyphy teenagers, myself included, we were stepping into the world with so much pessimism that it toed the line of nihilism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were told to go out there and make a living while the unemployment rate was soaring. It jumped from \u003c/span>\u003cspan style=\"font-weight: 400\">about \u003c/span>\u003ca href=\"https://www.cdc.gov/mmwr/preview/mmwrhtml/su6203a5.htm#:~:text=According%20to%20the%20Bureau%20of,million%20unemployed%20persons%20(11).\">\u003cspan style=\"font-weight: 400\">5% in the year 2006 to nearly 10% in the year 2010\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">No wonder after years of a downward trend, national crime reportedly had an uptick around that same period. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, I’m not blaming the unemployed, not even the small-time criminals. Nah, I’m looking at the system that creates this environment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Congresswoman Barbara Lee says that this country’s philosophy on violence has laid the foundation for my generation – and many generations of Americans. A lot of us think that violence is how we should solve our problems.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been very involved in trying to prevent wars and trying to hold these presidents accountable for starting wars. And what the impact has been, I think, especially on young people, maybe like violence, you know, the government uses violence, so what’s the problem? You know, when I said the violence should not be an option, well, why does the government engage in violence? Why are there so many guns on the street? Why can’t you do something about stopping this kind of violence? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Stop the violence? Yeah right. Despite the many anti-violence initiatives and peace movements I’ve seen, this country is entrenched in violence. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve gotten used to mass shootings happening on the regular, and videos of police killings circulate with the morning news. It’s a common thing, unfortunately. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I think the trauma and some of the political aspects of that time and now are very concerning to me \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Man, I was concerned too, but most of my focus was on the issue of homicides, and other blatant examples of violence. I hadn’t stepped back and looked at the bigger picture of this nation. How violence is at its core; that’s how we’re governed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prisons are violent and oppressive by nature. And that’s only compounded when you consider the inadequate living conditions behind bars, and the unjust system that lands folks there in the first place. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Schools, through racist curriculum and social hierarchies, can be both emotionally and physically violent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Housing – from redlining to gentrification – violent. As a person who faced a few evictions and stints of homelessness as a kid, I can tell you, there are few things more violent than losing your home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even our relationships with one another – especially those that are thought to be romantic – they have issues with violence being intertwined in everything from the way we communicate to the way we treat each other sexually. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, if you look close enough, at the root of many of the issues I’ve mentioned are violent systems of capitalism and imperialism.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s Congresswoman Lee again. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">To sort through all of this, is- is pretty difficult when you’re just trying to survive and make ends meet and trying to make a life for yourself and your family.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re a generation who was constantly shown that violence \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">is\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the answer, it’s no wonder that we’d find it completely rational to choose malicious ways to solve our problems. It provides a release. And back then, in 2006, that was just part of the culture.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">At that time, our particular generation, we would stomp your hood and we would fuck your car up and do all kind of crazy shit because we wanted to. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s Rich Iyala, a San Francisco-bred hip-hop artist who has been making music for over a decade. He can make hyphy blaps, political tracks or use agile lyrics over funky horns and cool drum patterns. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the start of this podcast, I mentioned a piece of graffiti I saw on a wall near an underpass, on 27th street in West Oakland that read, “Hyphy Kids Got Trauma” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those words were inspired by a more recent song from Rich Iyala, the lyrics went a little something like this:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala: \u003c/b>\u003cspan style=\"font-weight: 400\">Hyphy children got trauma and I put that on mommas. Hyphy children got trauma and I put that on mommas… It turned into a chant. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The song, in its entirety, is about kids going to school and having to step over drug-addicted adults who are laid out on the street. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala\u003c/b>\u003cb>:\u003c/b> \u003cspan style=\"font-weight: 400\">PTSD from the choppa got me shaking like maracas. Thought my patna went to college. Why I seen him on the block again?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rich has never recorded the song, he’s only done live performances of it. And evidently it resonates with folks.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s kind of like very sad. And I cracked my voice intentionally to kind of show pain. And that’s like a thing I do in a lot of my other songs to, like, convey a very close, raw emotion, like emotionality hyphy children got trauma, you know, kind of like I cry it out and I always see that it has people have a reaction, like all throughout the crowd.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Even with seeing how people reacted to it, Rich was completely blown away when he saw his words in graffiti written on a wall in West Oakland.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala: \u003c/b>\u003cspan style=\"font-weight: 400\">It was news to me, as much as it was to anybody else, for a while I was like, Wow. Like, what is this? Or why is why is this happening? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He knew why: people were feeling it. But the thing is, he didn’t know how many people were feeling it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, I saw a few posts on different social media platforms, photos taken of the words scrawled in different locations around town.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The artist who painted the one I saw, a graffiti writer who goes by Nasty, told me that Rich’s lyrics were the inspiration. And Nasty, he did a few tags, but he didn’t do all of ‘em. Others followed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And Rich saw it spread. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rich Iyala:\u003c/b> \u003cspan style=\"font-weight: 400\">It was funny because I looked up and I was like, What the hell is this? And then I went downtown and somebody else tagged it there. They were taking up whole walls. They were taking up like bus stops. Like trash cans, all kind of shit\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Four simple words that eloquently and succinctly speak to a wave of folks from West Oakland to East Palo Alto, the north side of Vallejo to South San Francisco. Ask anyone, who was in the Bay Area in 2006 and was into hip-hop–a fan of hyphy music or not– I bet you they’ll have a story to tell. And many folks are just now finding the words to tell it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala:\u003c/b> \u003cspan style=\"font-weight: 400\">we’re a generation now where a lot of us, we were able to look back now and Iike, see traumas, and we’re able to articulate traumas\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Adults now, the kids who grew up in that era, might’ve metaphorically burned some rubber [tires screech] while trying to gain traction on the road of life, but eventually a lot of us got around that learning curve.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know I had to crashout a few times before I learned. It took years to process the idea that constantly smoking and drinking was my way of masking pain, and that “we ain’t listening” mentality isn’t always the way.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I had to unlearn habits that were personally abusive in order to be in better community, and relationship with others. Misogynistic ideas of what male/ female interactions look like had to be processed. And I had to learn self-worth outside of a job or accomplishments, but just for simply being human. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shit, I had to dig deep to even appreciate my culture as a reputable part of this thing we call hip-hop. If I didn’t, I wouldn’t have been able to make this podcast. And still, there’s more work to do… Lots more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’ll admit, it’s wild seeing the kids who used to dance on top of cars, now running non-profit organizations. Much respect to the folks who’ve been intentional about working through their traumas. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s Rich again. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala: \u003c/b>\u003cspan style=\"font-weight: 400\">There is a dope resurgence of like Black therapy popping off in the Bay, you know, and like ask, you know, I’m sure a lot of Black therapists in the Bay, they’ll tell you in a minute that hyphy shit it was crazy.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You don’t need to be a licensed mental health professional to look back at that time period in this region, and know that the kids of the era were heavily impacted by what was going on. And in response, we made art that helped us deal with it all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">But, c’mon man, we’re talking about Black folks, Brown folks, Children of immigrants and working class folks in the United States. There’s nothing new about making art to overcome hard times.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today in the Town the same issues exist: there’s still community violence and economic disparities. Problems with the police, schools, the media, and elected officials. As of right now, in Oakland this year, \u003c/span>\u003ca href=\"https://cityofoakland2.app.box.com/s/sjiq7usfy27gy9dfe51hp8arz5l1ixad/file/1317068327070\">\u003cspan style=\"font-weight: 400\">over 90\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> people have been killed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, if we were to step back and look at the bigger picture, we’d see that the issues we’re facing are very much bred from capitalist exploitation, imperialism, and systemic racism that have been fueling this country, the same issues, just remixed for today’s environment. And just like us, young folks today are finding ways of dealing with it all, while enjoying art, culture and community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just days before this podcast series dropped, I stopped by Oakland’s Fremont High School. Inside of a studio in the school’s media center, a handful of students were on stage, as they were in conversation with filmmaker and hip-hop artist, Boots Riley. This was for a video series produced by KDOL called \u003c/span>\u003cspan style=\"font-weight: 400\">The Town Talks\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My ears perked up and I sat forward in my seat, listening to the second question of the evening come in from a young man wearing a Bathing Ape shirt, stylish ripped jeans and some black Jordans: \u003c/span>\u003c/p>\n\u003cp>\u003cb>T’Jon: \u003c/b>Hello, m\u003cspan style=\"font-weight: 400\">y name is T’Jon, and my question is, what excites you about music?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Boots Riley, wearing red jogger sweats and a green jacket, as his trademark porkchop sideburns poked out of hat, responded. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Boots Riley: \u003c/b>\u003cspan style=\"font-weight: 400\">Mmmm. There’s an energy… you know, I like music that makes you feel alive, and um, you know, makes you feel the contradictions of the world around you, like there’s something pressing against the way things are. There’s nothing wrong with it, but I’m not necessarily a fan of music that’s supposed to be in the background. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At that point, my head nearly exploded. For the past year I’d been writing about the contradictions of art and society, as well as music that can’t be relegated to the background. Boots wasn’t talking specifically about hyphy music, but when the question was turned around, and T’Jon was asked what he likes about music– the teenager with the fresh outfit mentioned the hyphy era. \u003c/span>\u003c/p>\n\u003cp>\u003cb>T’Jon:\u003c/b>\u003cspan style=\"font-weight: 400\"> It gets everybody together, like, everybody has the energy. Just like, like the hyphy movement, like everybody, it was a whole movement- like everybody in the whole city just felt it, you just could feel the vibe. It’s like, when you vibe to music it’s good. Like, you can tell it’s good. Good energy and stuff.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">T’Jon was born on April 20th of 2006 – a 4/20 I’ll never forget. His dad is one of my best friends, we’ve known each other since the age of four. I was at the hospital to greet the family just after T’Jon was born.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, nearly 18 years later, this young man was reminding me about the power of the music that came out when I was his age. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">My generation of Bay Area folks had so little, and literally did the most. We took empty parking lots where grocery stores once fed our families, and used the pavement to feed our need for entertainment. We took our trauma, put it on 22 inch rims and covered it with candy paint jobs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The hip-hop scene went years without getting national media attention, and when the cameras came we didn’t smile. Nope, we hit ‘em with a Thizz Face and showed ‘em a dance they’d never seen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Bay Area created something significant out of nothing, and did so in the face of adversity – and we made it look fun. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After hearing T’Jon’s reflections, I walked away thinking about the actual hyphy kids – the babies. The young folks born in that era who are teenagers now. How can we assist them as they navigate today’s climate? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beyond fighting for systemic changes and holding elected officials accountable, there’s a few simple things we can do. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">First and foremost: listen to the young folks. Slap their music, read their poetry, appreciate their art. It’ll do wonders in uplifting their spirits, and it’ll assist us older folks in understanding their plight. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Secondly, give them space to vent. It’s hard out here for all of us, and room to process things– safe spaces– are hard to come by. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lastly, as adults, it’s on us to work as hard as we can on ourselves, so we don’t pass down our trauma to the next generation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if all else fails, when the world doesn’t make sense, show ‘em how to go dumb wit it, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is Hyphy kids Got Trauma. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hosted by me, Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by Maya Cueva\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edited by Chris Hambrick\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sound design and original music by\u003c/span>\u003cspan style=\"font-weight: 400\"> Trackademics\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With support from \u003c/span>\u003cspan style=\"font-weight: 400\">Eric Arnold, \u003c/span>\u003cspan style=\"font-weight: 400\">Sheree Bishop, \u003c/span>\u003cspan style=\"font-weight: 400\">Jen Chien, \u003c/span>\u003cspan style=\"font-weight: 400\">Holly Kernan, \u003c/span>\u003cspan style=\"font-weight: 400\">Victoria Mauleon, \u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena, \u003c/span>\u003cspan style=\"font-weight: 400\">Gabe Meline, \u003c/span>\u003cspan style=\"font-weight: 400\">Xorje Olivares, \u003c/span>\u003cspan style=\"font-weight: 400\">Delency Parham, \u003c/span>\u003cspan style=\"font-weight: 400\">Cesar Saldaña, \u003c/span>\u003cspan style=\"font-weight: 400\">Sayre Quevedo, \u003c/span>\u003cspan style=\"font-weight: 400\">Katie Sprenger, \u003c/span>\u003cspan style=\"font-weight: 400\">Nastia Voynovskaya, \u003c/span>\u003cspan style=\"font-weight: 400\">and Ryce Stoughtenborough. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This project was produced with support from PRX and is made possible, in part, by a grant from the John S. and James L. Knight Foundation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this is a part of KQED’s That’s My Word project, a year-long exploration of Bay Area Hip-Hop history. Find more at \u003ca href=\"https://www.kqed.org/bayareahiphop\">BayAreaHipHop.com\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">RIP to Marcel Campbell, and so many more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Hyphy Kids Got Trauma Pt. 4, ‘My Generation's Report Card’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: left\">\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/p>\n\u003cp style=\"text-align: left\">Despite the uptempo party music and the perception of free-spirited fun, it’s clear that 2006 was a violent year in my Northern Californian community. But until recently, I hadn’t stopped to consider the bigger picture.\u003c/p>\n\u003cp>By stepping back and looking at the issues impacting the kids of the Bay Area in the early 2000s, during the hyphy movement, I realized two things:\u003c/p>\n\u003cp>First, those issues– violence and crime, as well as poverty, sexism, racism, and other forms of discrimination– are no different from the issues we’re facing today. Secondly, if you look closely enough, you’ll see that these issues are rooted in capitalism and imperialism.\u003c/p>\n\u003cp>In this episode we talk to \u003ca href=\"https://lee.house.gov/\" target=\"_blank\" rel=\"noopener\">Congresswoman Barbara Lee\u003c/a>, who represents the East Bay, about her history of dealing with these issues while serving this community for the past 25 years.\u003c/p>\n\u003cp>We hear from \u003ca href=\"https://www.instagram.com/rich_iyala/?hl=en\" target=\"_blank\" rel=\"noopener\">Rich Iyala,\u003c/a> a younger San Francisco based artist who grew up in the shadow of the hyphy movement and wrote a song that inspired multiple aerosol artists to write tags that read, “\u003ca href=\"https://www.instagram.com/p/BhDq8RwhU7z/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener\">hyphy children got trauma(s)\u003c/a>” and “\u003ca href=\"https://www.instagram.com/p/BwkH97cH-nZ/\" target=\"_blank\" rel=\"noopener\">hyphy kids got trauma\u003c/a>.”\u003c/p>\n\u003cp>We also hear from a senior at Oakland’s Fremont High school, T’Jon, who was born in 2006. During a recent interview with filmmaker Boots Riley for KDOL’s show \u003ca href=\"https://www.instagram.com/thetowntalks/\" target=\"_blank\" rel=\"noopener\">The Town Talks\u003c/a>, T’Jon shares his thoughts about the power of art, culture and community, as exemplified by the hyphy movement.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/div>",
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"content": "\u003cdiv class=\"post-content post-body\">\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Heads up, this podcast contains explicit language.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">All throughout my life, even before becoming a journalist, I’ve kept a journal. I still have every single notebook, and there’s over 60 of ‘em. Hella chicken scratch on yellow legal pads, little windows into my mindstate and notes on what was going on around me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While working on this project, I looked back a few from 2006. An entry from July of that year reads,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hyphy/ Metros/ Purple/ Jordans/ And Bathing Ape Hoodies/ Bootleg movies/ Turf Dancers/ speakers in the grill of scrapers/ cut the dreads off/ return to fading/ faded. Dark liquor and shit/ bus fare is $1.10/ and that 10 cents kills it/ Rather do it that way/ than to put $3.00 a gallon/ in the tank/ unless you got candy paint and dubs on yo thang/ don’t even come out to play/ I mean I mean, the word is geese/ geeks/ smirkish streets/ clean = wet/ O.G. thers = Vet/ stay safe = you blessed/ So many laid to rest, I done seen RIP on every piece of clothing except a prom dress…”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between these little scribbles were phone numbers and doodles– a bunch of crude self portraits drawn in pen. And there’s even a “To Do list” I wrote just before leaving Oakland, for Howard University. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Muffled sounds of shuffling paper] “\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Before I leave for Washington, D.C: Finish the Zeus DVD, go to a baseball game, get three fitted caps, two pair of jeans…”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[sounds of distant and lively chatter outdoors]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> I spent the fall of 2006 in Washington D.C., adjusting to the weather and the social climate of the east coast. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I loved the diversity within the Black community on campus. There’s nothing like attending an HBCU. Dudes with gold ones and locs, pursuing their PhDs. Women in business suits, with Wall Street connections and fly hairdos. Weedheads who didn’t do anything but sit on the same bench stoned every day. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was cool with em all, as well as the Cali club crew, a few D.C. folks and the poets, but I was still going through culture shock. I was hella far away from the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At one party I got laughed at for wearing glasses with no lenses, and in class, folks looked at me weird for rocking a hoodie with a picture of my deceased friend’s face on it. I grew homesick, and I left school and took an extended Thanksgiving break back in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Covered in hugs from the people I love, I was happy to be home. But toward the end of my trip, I was walking out of my mom’s house, as I closed the gate, looked down the street, and saw police lights and yellow tape. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the time I got to my cousin’s house, a five minute drive if you catch every green light, word had spread: Marcel Campbell, a friend who we called Cell, had been killed.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Considered a young OG, Cell was more mature than his age,\u003c/span>\u003cspan style=\"font-weight: 400\"> both through his fashion – peacoats and casual shoes, as well as through his temperament – ever cool. A short brotha with long locs, he’d share wisdom through jokes, shaking your hand while talking to you — simultaneous conversation and affirmation. He was yet another young person gone too soon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I didn’t get to attend Cell’s memorial. I had to head back to school soon after we got the news of his passing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I left the streets of the East Bay, headed back to the east coast for those final weeks of 2006. Looking out the airplane window and scribbling in my journal, I wrote a poem using the idea of a bridge as a metaphor for the shaky grounds my community was standing on. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some would say never burn a bridge\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But they never tell you to check on it/ make sure that it holds\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The wind, the rain/ the heat and the snow\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The moment I know\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This infrastructure isn’t conducting\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reason why it was constructed\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bolts loosen/ the poles start to rust and\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Weak links in the chain\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The bridge ain’t standing the same\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lord forbid/ this bridge/ fall back into the Bay\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m Pendarvis Harshaw, and this is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hyphy Kids Got Trauma\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While taking classes at Howard, I saw that Washington D.C. – almost three-thousand miles away from Oakland – was a world removed from scraper bikes and hyphy trains. By stepping outside of my Bay Area bubble, I was exposed to broader issues impacting the world. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And being in the nation’s capital, I was also closer to the elected officials who are in the seat of power in this country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not far from my dorm room there was someone else from Oakland who was also thinking about the bigger issues impacting this \u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">generation, with a special focus on the people from the East Bay… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Congresswoman Barbara Lee, guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> I am Congresswoman Barbara Lee and I represent the 12th Congressional District.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rep. Lee’s district is in Alameda county, which includes the East Bay cities of Oakland, Berkeley, and more. She tells me that she appreciates what hip-hop artists have done for the region. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s a really cool culture in Oakland\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">… \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">And she sees how legislation has impacted the way of life for a generation of kids from the region she represents. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s really sad because this is the Bay Area and we shouldn’t have policies that allow for gentrification, but that… that happened.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">When Congresswoman Lee entered office in April of 1998, Black folks accounted for \u003c/span>\u003ca href=\"http://www.bayareacensus.ca.gov/cities/Oakland.htm\">\u003cspan style=\"font-weight: 400\">nearly 40% of Oakland’s population\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The most recent Census reports that Oakland’s Black population is down to about 20%. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Back at the turn of the millennium, when I was a teen living in the wake of the 9/11 attacks on the U.S., it was Representative Lee’s vote – the sole ballot cast against going to war in Afghanistan – that introduced me to her work.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the years, I’ve watched as she’s championed reproductive health and combated racism. She’s fought for the rights of Black folks here and abroad, and represented her region at every turn. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While no person – especially a politician – is perfect, I’ve appreciated how she’s been critical of systemic racism and imperialism. She’s pushed for low-income housing, organized against air pollutants, and fought against the hyper-policing of Black people. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And even with these efforts over the years, Rep. Lee realizes that all of these layers of issues created a world where it’s damn near impossible for people to walk around unscathed. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee:\u003c/b>\u003cspan style=\"font-weight: 400\"> I can understand the environment and the context of what was taking place during that time. In terms of the political environment, that causes a lot of anxiety. And a lot of, I don’t want to say depression, but quite a bit of pessimism, and uncertainty about where this country and where the world is going. Just like now.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before even considering stats and numerical breakdowns of crime, poverty and the like, we have to start with the mindstate of folks at the time we’re talking about, 2006. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These hyphy teenagers, myself included, we were stepping into the world with so much pessimism that it toed the line of nihilism. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We were told to go out there and make a living while the unemployment rate was soaring. It jumped from \u003c/span>\u003cspan style=\"font-weight: 400\">about \u003c/span>\u003ca href=\"https://www.cdc.gov/mmwr/preview/mmwrhtml/su6203a5.htm#:~:text=According%20to%20the%20Bureau%20of,million%20unemployed%20persons%20(11).\">\u003cspan style=\"font-weight: 400\">5% in the year 2006 to nearly 10% in the year 2010\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">No wonder after years of a downward trend, national crime reportedly had an uptick around that same period. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, I’m not blaming the unemployed, not even the small-time criminals. Nah, I’m looking at the system that creates this environment. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Congresswoman Barbara Lee says that this country’s philosophy on violence has laid the foundation for my generation – and many generations of Americans. A lot of us think that violence is how we should solve our problems.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been very involved in trying to prevent wars and trying to hold these presidents accountable for starting wars. And what the impact has been, I think, especially on young people, maybe like violence, you know, the government uses violence, so what’s the problem? You know, when I said the violence should not be an option, well, why does the government engage in violence? Why are there so many guns on the street? Why can’t you do something about stopping this kind of violence? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Stop the violence? Yeah right. Despite the many anti-violence initiatives and peace movements I’ve seen, this country is entrenched in violence. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve gotten used to mass shootings happening on the regular, and videos of police killings circulate with the morning news. It’s a common thing, unfortunately. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I think the trauma and some of the political aspects of that time and now are very concerning to me \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Man, I was concerned too, but most of my focus was on the issue of homicides, and other blatant examples of violence. I hadn’t stepped back and looked at the bigger picture of this nation. How violence is at its core; that’s how we’re governed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prisons are violent and oppressive by nature. And that’s only compounded when you consider the inadequate living conditions behind bars, and the unjust system that lands folks there in the first place. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Schools, through racist curriculum and social hierarchies, can be both emotionally and physically violent.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Housing – from redlining to gentrification – violent. As a person who faced a few evictions and stints of homelessness as a kid, I can tell you, there are few things more violent than losing your home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even our relationships with one another – especially those that are thought to be romantic – they have issues with violence being intertwined in everything from the way we communicate to the way we treat each other sexually. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, if you look close enough, at the root of many of the issues I’ve mentioned are violent systems of capitalism and imperialism.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s Congresswoman Lee again. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rep. Barbara Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">To sort through all of this, is- is pretty difficult when you’re just trying to survive and make ends meet and trying to make a life for yourself and your family.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We’re a generation who was constantly shown that violence \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">is\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the answer, it’s no wonder that we’d find it completely rational to choose malicious ways to solve our problems. It provides a release. And back then, in 2006, that was just part of the culture.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala, guest: \u003c/b>\u003cspan style=\"font-weight: 400\">At that time, our particular generation, we would stomp your hood and we would fuck your car up and do all kind of crazy shit because we wanted to. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">That’s Rich Iyala, a San Francisco-bred hip-hop artist who has been making music for over a decade. He can make hyphy blaps, political tracks or use agile lyrics over funky horns and cool drum patterns. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the start of this podcast, I mentioned a piece of graffiti I saw on a wall near an underpass, on 27th street in West Oakland that read, “Hyphy Kids Got Trauma” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those words were inspired by a more recent song from Rich Iyala, the lyrics went a little something like this:\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala: \u003c/b>\u003cspan style=\"font-weight: 400\">Hyphy children got trauma and I put that on mommas. Hyphy children got trauma and I put that on mommas… It turned into a chant. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The song, in its entirety, is about kids going to school and having to step over drug-addicted adults who are laid out on the street. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala\u003c/b>\u003cb>:\u003c/b> \u003cspan style=\"font-weight: 400\">PTSD from the choppa got me shaking like maracas. Thought my patna went to college. Why I seen him on the block again?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rich has never recorded the song, he’s only done live performances of it. And evidently it resonates with folks.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s kind of like very sad. And I cracked my voice intentionally to kind of show pain. And that’s like a thing I do in a lot of my other songs to, like, convey a very close, raw emotion, like emotionality hyphy children got trauma, you know, kind of like I cry it out and I always see that it has people have a reaction, like all throughout the crowd.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Even with seeing how people reacted to it, Rich was completely blown away when he saw his words in graffiti written on a wall in West Oakland.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala: \u003c/b>\u003cspan style=\"font-weight: 400\">It was news to me, as much as it was to anybody else, for a while I was like, Wow. Like, what is this? Or why is why is this happening? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">He knew why: people were feeling it. But the thing is, he didn’t know how many people were feeling it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, I saw a few posts on different social media platforms, photos taken of the words scrawled in different locations around town.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The artist who painted the one I saw, a graffiti writer who goes by Nasty, told me that Rich’s lyrics were the inspiration. And Nasty, he did a few tags, but he didn’t do all of ‘em. Others followed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And Rich saw it spread. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Rich Iyala:\u003c/b> \u003cspan style=\"font-weight: 400\">It was funny because I looked up and I was like, What the hell is this? And then I went downtown and somebody else tagged it there. They were taking up whole walls. They were taking up like bus stops. Like trash cans, all kind of shit\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Four simple words that eloquently and succinctly speak to a wave of folks from West Oakland to East Palo Alto, the north side of Vallejo to South San Francisco. Ask anyone, who was in the Bay Area in 2006 and was into hip-hop–a fan of hyphy music or not– I bet you they’ll have a story to tell. And many folks are just now finding the words to tell it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala:\u003c/b> \u003cspan style=\"font-weight: 400\">we’re a generation now where a lot of us, we were able to look back now and Iike, see traumas, and we’re able to articulate traumas\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Adults now, the kids who grew up in that era, might’ve metaphorically burned some rubber [tires screech] while trying to gain traction on the road of life, but eventually a lot of us got around that learning curve.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I know I had to crashout a few times before I learned. It took years to process the idea that constantly smoking and drinking was my way of masking pain, and that “we ain’t listening” mentality isn’t always the way.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I had to unlearn habits that were personally abusive in order to be in better community, and relationship with others. Misogynistic ideas of what male/ female interactions look like had to be processed. And I had to learn self-worth outside of a job or accomplishments, but just for simply being human. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shit, I had to dig deep to even appreciate my culture as a reputable part of this thing we call hip-hop. If I didn’t, I wouldn’t have been able to make this podcast. And still, there’s more work to do… Lots more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But I’ll admit, it’s wild seeing the kids who used to dance on top of cars, now running non-profit organizations. Much respect to the folks who’ve been intentional about working through their traumas. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s Rich again. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Rich Iyala: \u003c/b>\u003cspan style=\"font-weight: 400\">There is a dope resurgence of like Black therapy popping off in the Bay, you know, and like ask, you know, I’m sure a lot of Black therapists in the Bay, they’ll tell you in a minute that hyphy shit it was crazy.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You don’t need to be a licensed mental health professional to look back at that time period in this region, and know that the kids of the era were heavily impacted by what was going on. And in response, we made art that helped us deal with it all. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">But, c’mon man, we’re talking about Black folks, Brown folks, Children of immigrants and working class folks in the United States. There’s nothing new about making art to overcome hard times.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Today in the Town the same issues exist: there’s still community violence and economic disparities. Problems with the police, schools, the media, and elected officials. As of right now, in Oakland this year, \u003c/span>\u003ca href=\"https://cityofoakland2.app.box.com/s/sjiq7usfy27gy9dfe51hp8arz5l1ixad/file/1317068327070\">\u003cspan style=\"font-weight: 400\">over 90\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> people have been killed. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And, if we were to step back and look at the bigger picture, we’d see that the issues we’re facing are very much bred from capitalist exploitation, imperialism, and systemic racism that have been fueling this country, the same issues, just remixed for today’s environment. And just like us, young folks today are finding ways of dealing with it all, while enjoying art, culture and community. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just days before this podcast series dropped, I stopped by Oakland’s Fremont High School. Inside of a studio in the school’s media center, a handful of students were on stage, as they were in conversation with filmmaker and hip-hop artist, Boots Riley. This was for a video series produced by KDOL called \u003c/span>\u003cspan style=\"font-weight: 400\">The Town Talks\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">My ears perked up and I sat forward in my seat, listening to the second question of the evening come in from a young man wearing a Bathing Ape shirt, stylish ripped jeans and some black Jordans: \u003c/span>\u003c/p>\n\u003cp>\u003cb>T’Jon: \u003c/b>Hello, m\u003cspan style=\"font-weight: 400\">y name is T’Jon, and my question is, what excites you about music?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Boots Riley, wearing red jogger sweats and a green jacket, as his trademark porkchop sideburns poked out of hat, responded. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Boots Riley: \u003c/b>\u003cspan style=\"font-weight: 400\">Mmmm. There’s an energy… you know, I like music that makes you feel alive, and um, you know, makes you feel the contradictions of the world around you, like there’s something pressing against the way things are. There’s nothing wrong with it, but I’m not necessarily a fan of music that’s supposed to be in the background. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">At that point, my head nearly exploded. For the past year I’d been writing about the contradictions of art and society, as well as music that can’t be relegated to the background. Boots wasn’t talking specifically about hyphy music, but when the question was turned around, and T’Jon was asked what he likes about music– the teenager with the fresh outfit mentioned the hyphy era. \u003c/span>\u003c/p>\n\u003cp>\u003cb>T’Jon:\u003c/b>\u003cspan style=\"font-weight: 400\"> It gets everybody together, like, everybody has the energy. Just like, like the hyphy movement, like everybody, it was a whole movement- like everybody in the whole city just felt it, you just could feel the vibe. It’s like, when you vibe to music it’s good. Like, you can tell it’s good. Good energy and stuff.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">T’Jon was born on April 20th of 2006 – a 4/20 I’ll never forget. His dad is one of my best friends, we’ve known each other since the age of four. I was at the hospital to greet the family just after T’Jon was born.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, nearly 18 years later, this young man was reminding me about the power of the music that came out when I was his age. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">My generation of Bay Area folks had so little, and literally did the most. We took empty parking lots where grocery stores once fed our families, and used the pavement to feed our need for entertainment. We took our trauma, put it on 22 inch rims and covered it with candy paint jobs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The hip-hop scene went years without getting national media attention, and when the cameras came we didn’t smile. Nope, we hit ‘em with a Thizz Face and showed ‘em a dance they’d never seen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Bay Area created something significant out of nothing, and did so in the face of adversity – and we made it look fun. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">After hearing T’Jon’s reflections, I walked away thinking about the actual hyphy kids – the babies. The young folks born in that era who are teenagers now. How can we assist them as they navigate today’s climate? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Beyond fighting for systemic changes and holding elected officials accountable, there’s a few simple things we can do. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">First and foremost: listen to the young folks. Slap their music, read their poetry, appreciate their art. It’ll do wonders in uplifting their spirits, and it’ll assist us older folks in understanding their plight. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Secondly, give them space to vent. It’s hard out here for all of us, and room to process things– safe spaces– are hard to come by. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Lastly, as adults, it’s on us to work as hard as we can on ourselves, so we don’t pass down our trauma to the next generation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And if all else fails, when the world doesn’t make sense, show ‘em how to go dumb wit it, yeah.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is Hyphy kids Got Trauma. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Hosted by me, Pendarvis Harshaw\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Produced by Maya Cueva\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edited by Chris Hambrick\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sound design and original music by\u003c/span>\u003cspan style=\"font-weight: 400\"> Trackademics\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With support from \u003c/span>\u003cspan style=\"font-weight: 400\">Eric Arnold, \u003c/span>\u003cspan style=\"font-weight: 400\">Sheree Bishop, \u003c/span>\u003cspan style=\"font-weight: 400\">Jen Chien, \u003c/span>\u003cspan style=\"font-weight: 400\">Holly Kernan, \u003c/span>\u003cspan style=\"font-weight: 400\">Victoria Mauleon, \u003c/span>\u003cspan style=\"font-weight: 400\">Marisol Medina-Cadena, \u003c/span>\u003cspan style=\"font-weight: 400\">Gabe Meline, \u003c/span>\u003cspan style=\"font-weight: 400\">Xorje Olivares, \u003c/span>\u003cspan style=\"font-weight: 400\">Delency Parham, \u003c/span>\u003cspan style=\"font-weight: 400\">Cesar Saldaña, \u003c/span>\u003cspan style=\"font-weight: 400\">Sayre Quevedo, \u003c/span>\u003cspan style=\"font-weight: 400\">Katie Sprenger, \u003c/span>\u003cspan style=\"font-weight: 400\">Nastia Voynovskaya, \u003c/span>\u003cspan style=\"font-weight: 400\">and Ryce Stoughtenborough. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This project was produced with support from PRX and is made possible, in part, by a grant from the John S. and James L. Knight Foundation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And this is a part of KQED’s That’s My Word project, a year-long exploration of Bay Area Hip-Hop history. Find more at \u003ca href=\"https://www.kqed.org/bayareahiphop\">BayAreaHipHop.com\u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">RIP to Marcel Campbell, and so many more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Until next time, peace. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>"
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"content": "\u003cfigure id=\"attachment_13936231\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936231\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/9780306828423__86017.jpg\" alt=\"A book cover showing a bleak horizon over grey seas.\" width=\"640\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/9780306828423__86017.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/9780306828423__86017-160x242.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Goth: A History’ by Lol Tolhurst. \u003ccite>(Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What comes to mind when the word “goth” is spoken? Is it Tim Burton films? The popstar Billie Eilish? An adolescent phase marked by black nail polish and nihilism? Or is it a lifestyle? Is it literature such as Edgar Allan Poe’s poem \u003cem>The Raven\u003c/em>, Mary Shelley’s novel \u003cem>Frankenstein\u003c/em> or the writings of Emily Brontë? Is it a musical genre born out of late-’70s punk and dread?\u003c/p>\n\u003cp>[aside postid='arts_13936074']For Lol Tolhurst, co-founder the influential “goth” band The Cure, it’s all of the above. He explores what he calls “the last true alternative outsider subculture” in a new book titled, \u003cem>Goth: A History\u003c/em>, published late last month by Hachette.\u003c/p>\n\u003cp>It follows his first book, the 2016 memoir \u003cem>Cured: The Tale of Two Imaginary Boys.\u003c/em>\u003c/p>\n\u003cp>Over the phone from the deserts of Southern California, Tolhurst says inspiration for this second book came from a lack of understanding.\u003c/p>\n\u003cp>“People had (goth) confused. They saw the outward signs, the dark clothing, and they thought that was what it was all about — gloom and doom. And it’s actually a lot more subtle than that,” he explained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ask for a definition, however, and that misses crucial nuance.\u003c/p>\n\u003cp>“It’s not really a fashion,” he says. “It’s more of a philosophy and a way of being, a way of approaching the world. And I think that ensures its longevity. It’s malleable, but its sort of basic premise is always the same.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n3nPiBai66M\u003c/p>\n\u003cp>In \u003cem>Goth: A History\u003c/em>, Tolhurst says he was inspired by the writings of Joan Didion — and so he weaves in first-person accounts while exploring goth music’s origins from punk’s anarchy. The main difference between the two genres, as well as goth’s idiosyncrasies from other rock music, is that goth is about “love and death” in the same song, and “that the ideas are generally about the invisible and internal in life more than the external and visible,” he said.\u003c/p>\n\u003cp>[aside postid='arts_13917340']From there, the book dives into gothic literature and the French existentialists, whom Tolhurst considers formative to the subculture. That leads to an abridged history of the music from the progenitors: musicians such as The Doors, Suicide, Nico, David Bowie. The book then looks at goth icons including Joy Division, Bauhaus, and Siouxsie and the Banshees. It also explores the goth scene through famed goth clubs like the Batcave in London, which were also havens for the LGBTQ+ community. That leads to a look at modern goth groups such as Nine Inch Nails, the Belarusian post-punks Molchat Doma and beyond.\u003c/p>\n\u003cp>Throughout \u003cem>Goth: A History\u003c/em>, Tolhurst shares charming anecdotes, like a scene where Bauhaus members enter a New York City bar for the first time, find singer Iggy Pop sitting there, and become so excited to see their hero that frontman Peter Murphy starts tickling him. There’s humor in goth, after all — another misconception Tolhurst works to correct.\u003c/p>\n\u003cp>At the end, Tolhurst returns to the philosophical questions surrounding “goth” — what it means that “goths” tend to stay that way through adulthood and what can be learned from the nonconformist communities it creates.\u003c/p>\n\u003cp>Certain trends emerge within that exploration — and certain geographies. The musical story largely takes place in England and Los Angeles, the latter of which Tolhurst has called home for a few decades now. LA was also home to the psych rock band the Doors, who were the first group described as “gothic rock” — by critic John Stickney in 1967.\u003c/p>\n\u003cp>Tolhurst theorizes that England became ground zero for the movement because of many factors, but the gray skies, rainy weather and gothic architecture cannot be discounted.\u003c/p>\n\u003cp>[aside postid='arts_13919589']Elsewhere, he draws connections between goth and Catholicism, a relationship Tolhurst believes goes beyond a shared iconography and morbidity. “Catholicism is brimstone, hell fire,” he says. “Good music tends not to surface when things are going along great and everything’s tickety-boo.”\u003c/p>\n\u003cp>If there is a single takeaway, it is that Tolhurst views goth as interdisciplinary — an ideology that spans different art forms, mediums and generations, one that shape-shifts with whoever finds interest in it.\u003c/p>\n\u003cp>“I’m showing people that I’m grateful to something, a way of being, a way of life, and a way of responding to the world,” he said of the book. “Which, in the end, is pretty much the whole point of being alive.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goth: A History’ by Lol Tolhurst is out now, via Hachette Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From there, the book dives into gothic literature and the French existentialists, whom Tolhurst considers formative to the subculture. That leads to an abridged history of the music from the progenitors: musicians such as The Doors, Suicide, Nico, David Bowie. The book then looks at goth icons including Joy Division, Bauhaus, and Siouxsie and the Banshees. It also explores the goth scene through famed goth clubs like the Batcave in London, which were also havens for the LGBTQ+ community. That leads to a look at modern goth groups such as Nine Inch Nails, the Belarusian post-punks Molchat Doma and beyond.\u003c/p>\n\u003cp>Throughout \u003cem>Goth: A History\u003c/em>, Tolhurst shares charming anecdotes, like a scene where Bauhaus members enter a New York City bar for the first time, find singer Iggy Pop sitting there, and become so excited to see their hero that frontman Peter Murphy starts tickling him. There’s humor in goth, after all — another misconception Tolhurst works to correct.\u003c/p>\n\u003cp>At the end, Tolhurst returns to the philosophical questions surrounding “goth” — what it means that “goths” tend to stay that way through adulthood and what can be learned from the nonconformist communities it creates.\u003c/p>\n\u003cp>Certain trends emerge within that exploration — and certain geographies. The musical story largely takes place in England and Los Angeles, the latter of which Tolhurst has called home for a few decades now. LA was also home to the psych rock band the Doors, who were the first group described as “gothic rock” — by critic John Stickney in 1967.\u003c/p>\n\u003cp>Tolhurst theorizes that England became ground zero for the movement because of many factors, but the gray skies, rainy weather and gothic architecture cannot be discounted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elsewhere, he draws connections between goth and Catholicism, a relationship Tolhurst believes goes beyond a shared iconography and morbidity. “Catholicism is brimstone, hell fire,” he says. “Good music tends not to surface when things are going along great and everything’s tickety-boo.”\u003c/p>\n\u003cp>If there is a single takeaway, it is that Tolhurst views goth as interdisciplinary — an ideology that spans different art forms, mediums and generations, one that shape-shifts with whoever finds interest in it.\u003c/p>\n\u003cp>“I’m showing people that I’m grateful to something, a way of being, a way of life, and a way of responding to the world,” he said of the book. “Which, in the end, is pretty much the whole point of being alive.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goth: A History’ by Lol Tolhurst is out now, via Hachette Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13936154\" class=\"wp-caption aligncenter\" style=\"max-width: 2108px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png\" alt=\"A young, attractive Latina stands on the edge of a dessert landscape. She is wearing a structured blue top against a blue sky.\" width=\"2108\" height=\"1300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM.png 2108w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-2048x1263.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-12.06.43-AM-1920x1184.png 1920w\" sizes=\"auto, (max-width: 2108px) 100vw, 2108px\">\u003cfigcaption class=\"wp-caption-text\">Joan Baez in a scene from ‘I Am a Noise.’ \u003ccite>(Albert Baez/ Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Dylan called it her “heart-stopping soprano,” and it’s true that when Joan Baez unleashed that pure, angelic voice on the protest song “We Shall Overcome,” you could believe we would, indeed, overcome.\u003c/p>\n\u003cp>The celebrated folk singer and activist was singing about civil rights, of course. But what we learn in the thoughtful, thorough and sometimes harrowingly intimate \u003cem>Joan Baez: I Am a Noise\u003c/em> is that Baez was also seeking to overcome much on a personal scale: anxiety, depression, loneliness and, late in life, troubling repressed memories about her own father.\u003c/p>\n\u003cp>[aside postid='arts_13933809']If that sounds like a lot to cover in 113 minutes, it is — especially because the new documentary, directed by Maeve O’Boyle, Miri Navasky and Karen O’Connor, also recaps a 60-year performing career, with the singer telling her story through interviews and an incredible wealth of archival material. We see Baez entering for the very first time a storage unit filled to the ceiling by her late mother with photos, home films, audio recordings, letters, drawings and even tapes of therapy sessions.\u003c/p>\n\u003cp>And she gave her directors the key. The film was originally intended simply to cover Baez’s last, 2018 “Fare Thee Well” tour, but Baez decided to leave a more thorough legacy.\u003c/p>\n\u003cp>The film begins with novelist Gabriel Garcia Marquez’s quote about how everyone has three lives: public, private and secret. Well, this is certainly apt for Baez, who emerged as a sudden star in 1959, an 18-year-old with a guitar and that bell-like voice, and went on to make some 40 albums, with a 2017 induction into the Rock & Roll Hall of Fame. As we see from her own anguished drawings and letters beginning in youth, her intensely public life masked both a difficult private one and some dark secrets as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there was Dylan, the same age as Baez, that inscrutable genius who stole her heart and then broke it. It was intoxicating being together, recounts Baez, who introduced him lovingly to her audiences, until a painful UK tour when his fame blossomed and “it was horrible.” Then, staring into the camera, she says: “Hi, Bob!” It’s a welcome and rare opportunity to laugh with her.\u003c/p>\n\u003cp>[aside postid='arts_13935703']But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dhcV1gEat_c\u003c/p>\n\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>[aside postid='arts_13933824']The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But back to the beginning, where Baez, on the cusp of 80, is preparing for the tour, rehearsing at home in northern California. Her hair is fully gray; her face has not changed much. “I know I look good for my age, but there is a limit,” she quips of upcoming retirement. As for her voice, it’s there, but definitely lower and more ragged.\u003c/p>\n\u003cp>Amid concert footage, we toggle to scenes of Baez’s youth. We also hear, on and off, a strange (and rather distracting) male voice sounding like a hypnotist. It turns out to be her therapist.\u003c/p>\n\u003cp>The story begins with lovely, black-and-white footage of Joan as a child, dancing in a field with her parents and sisters. Her Mexican-born father was dashing. The scenes look idyllic, but there are signs of trouble ahead when, in an interview from the present, Joan notes mysteriously: “I’m way too conflicted to just have a bunch of happy memories.”\u003c/p>\n\u003cp>We see pages from young Joan’s journal, its copious sketches brought to life by wonderfully inventive animation, and hear how white kids called her “the dumb Mexican” in school. Panic attacks and anxiety set in. Even when she becomes a star, breaking out at the Newport Folk Festival in 1959, her self-image doesn’t seem to thrive. Nestled among the many letters to her parents is a drawing of a very small girl: “This is how I felt on the Carnegie Hall stage.”\u003c/p>\n\u003cp>And then a charismatic singer-songwriter invades her life.\u003c/p>\n\u003cp>”I was just stoned on that talent,” she says of Dylan. One of the best moments of the film has Baez at the mic, during good times, imitating Dylan imitating her.\u003c/p>\n\u003cp>But later, on that tour to Britain, he leaves her in his wake. “Dylan broke my heart,” she says.\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/dhcV1gEat_c'\n title='//www.youtube.com/embed/dhcV1gEat_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A new phase sees Baez deeply engaged in protests against the Vietnam War — even going to jail. There, young activist David Harris visits her. The two will marry, she’ll become pregnant, and then HE will go to jail. When he comes out, the marriage is troubled and doesn’t last. “He was too young and I was too crazy,” she says. Gabriel, her son, plays drums in his mother’s band on the farewell tour.\u003c/p>\n\u003cp>Later scenes have Baez discussing a phase of reliance on Quaaludes, which cause her to make some questionable decisions, including posing for an album cover in huge aviator goggles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The final act deals with accusations against her father of inappropriate sexual behavior with Joan and one of her sisters, Mimi. Her parents, both deceased, denied it, and Joan’s own memories lack detail. She has said she could not have told this story while her parents were still alive.\u003c/p>\n\u003cp>There’s an excruciating tape of a phone message from her accused dad, and then a tender scene where Baez comforts her aging and dying mother.\u003c/p>\n\u003cp>And then, after footage of a final concert at New York’s Beacon Theater, we see the now-retired Baez dancing in a field near her home. A nod perhaps to the childhood scenes — but also maybe a statement that while she hasn’t overcome it all, she’s overcome a heckuva lot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joan Baez: I Am a Noise’ opens in wide release on Oct. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too",
"headTitle": "‘Taylor Swift: The Eras Tour’ Might Just Shake Up the Movie Business Now Too | KQED",
"content": "\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13935703']When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>[aside postid='arts_13931892']The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13935566']Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>[aside postid='arts_13933011']Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Gabe Meline contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greg Marcus has been in the movie business for years but he never expected to be urging moviegoers to take out their phones during a film — let alone to be crafting friendship bracelets in preparation for an opening weekend.\u003c/p>\n\u003cp>But there the chief executive and chair of the Marcus Corporation is in a promotion for his theater chain headquartered in Milwaukee, Wisconsin, stringing beads together while humming “Shake It Off.”\u003c/p>\n\u003cp>Movie theaters are readying for an onslaught like they’ve never seen before, beginning Friday when \u003cem>Taylor Swift: The Eras Tour\u003c/em> debuts. The concert film, compiled from several Swift shows at Southern California’s SoFi Stadium, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>Swifties will descend. Dancing will be encouraged.\u003c/p>\n\u003cp>“This is different,” says Marcus. “Take your phone out. Take selfies. Dance, sing, get up, have a good time. We want to create an atmosphere.”\u003c/p>\n\u003cfigure id=\"attachment_13933016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg\" alt=\"A girl's arms, loaded with inches of friendship bracelets. One hand has the number 13 drawn on it in pink glitter. The girl's pink dress is visible behind her arms.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1576266117-scaled-e1691775214165-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fan Roselin Alvarez shows her friendship bracelets as she rides a free shuttle bus from Downtown Inglewood Station to SoFi stadium to see Taylor Swift perform her first of six sold-out ‘Eras Tour’ shows in Inglewood on Aug. 3, 2023. \u003ccite>(Allen J. Schaben/ Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Concert films, of course, aren’t anything new. Just last month, the Talking Heads classic \u003cem>Stop Making Sense\u003c/em> returned to theaters for a decades-later encore. But \u003cem>The Eras Tour\u003c/em> heralds something new and potentially game-changing in the movie industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of the biggest stars on the planet — Swift and, in December under \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">a very similar arrangement, Beyoncé\u003c/a> — are heading into cinemas in first-of-their-kind deals made directly with AMC Theaters that circumvent Hollywood studios and which, for now, leave streamers waiting on the sidelines.\u003c/p>\n\u003cp>But how did the once declared-for-dead multiplex become the go-to place this fall for a pair of stars previously \u003ca href=\"https://www.kqed.org/pop/111097/what-beyonces-hungry-confession-means-for-women-everywhere\">at home on Netflix\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When studios began diverting some of their titles to streaming platforms, movie theaters began thinking harder about how they could fill their screens — a question exacerbated this autumn by an actors strike that’s led to the postponement of big releases like \u003cem>Dune: Part Two\u003c/em>.\u003c/p>\n\u003cp>Movie theaters are increasingly not just a marquee of movie showtimes but a big-screen stage for a variety of visual media. BTS earlier this year released a concert film, with higher ticket prices and limited showtimes. The Metropolitan Opera has for years done popular live broadcasts in theaters.\u003c/p>\n\u003cp>Few acts can do what Swift and Beyoncé can. Their expected success is unlikely to be replicated. But \u003cem>The Eras Tour\u003c/em> could be the start of an expansion of what, exactly, a movie theater can be. Think the Sphere, only much cheaper and in most towns.\u003c/p>\n\u003cp>“You could say we’re in the movie business, but really we’re in the getting-together-with-other-people business,” says Marcus. “The more we do of it, the more the customers will think about it and the more talent will go: ‘This is something I could do.’”\u003c/p>\n\u003cp>Swift’s camp was motivated to get the film out even as her stadium tour continues internationally. The tour, which is projected by Pollstar to gross some $1.4 billion,\u003ca href=\"https://www.kqed.org/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance\"> crashed Ticketmaster’s site\u003c/a>, saw sky-high resale mark-ups and left many fans priced out.\u003c/p>\n\u003cp>The movie, directed by Sam Wrench, would be a way for millions more to experience the Eras Tour. Adult tickets are being sold for $19.89, a reference to her birth year and 2014 album, a re-recording of which is due out Oct. 27. That’s higher than the average movie ticket but several thousand less than many tickets to see Swift live.\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/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s arriving uncommonly fast, too, just a little over two months since the SoFi shows. Speed was one reason Swift’s father, Scott Swift, is said to have sought out a direct deal with AMC. Swift produced the film herself, and, with 274 million followers on Instagram, didn’t need a studio to promote it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The pop star’s \u003ca href=\"https://www.kqed.org/arts/13935566/taylor-swift-travis-kelce-relationship-boosts-nfl-sales-spectators\">apparent relationship with Kansas City Chiefs tight end Travis Kelce\u003c/a> has only further brightened the spotlight on the movie. According to ad tracking firm iSpot, TV ads for the film ran only a few dozen times as of Oct. 6, including several spots during NFL broadcasts. (A Marvel movie, by comparison, might run several thousand TV commercials.)\u003c/p>\n\u003cp>Ticket sales will be split 43% with theaters and 57% shared by Swift and AMC — with the lion’s share of that going to Swift. The film will play exclusively in theaters for at least 13 weeks — longer than many Hollywood releases do now. AMC CEO Adam Aron has called the deal “a coup for AMC” on social media.\u003c/p>\n\u003cp>Both AMC and representatives for Swift declined to discuss the film’s release.\u003c/p>\n\u003cp>After a premiere in Los Angeles on Wednesday, there won’t be any advance screenings until the movie begins playing at 6 p.m. local time Friday. Most wide-release movies open with Thursday showings and Friday daytime screenings. It’s another wrinkle in a nontraditional release that’s challenging Hollywood norms.\u003c/p>\n\u003cp>“Innovation comes out of challenging times in this business. We’re seeing a lot of changes, some subtle, some not so subtle,” says Paul Dergarabedian, senior media analyst for data firm Comscore. “It seems like, right now, there are no rules when it comes to being successful.”\u003c/p>\n\u003cp>Dergarabedian believes the two concert films should help lift the North American box office to more than $9 billion in 2023, up from the $7.4 billion of last year and edging closer to the $11.4 billion of 2019.\u003c/p>\n\u003cp>“It really opens up the idea that other types of content can play really well in a movie theater,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of those changes have been facilitated by the abolishment of long-held antitrust restrictions governing movie distribution. After more than 70 years of regulating divisions between exhibition and distribution, the Paramount consent decrees were terminated in 2020 at the urging of the Department of Justice, with a two-year sunset period that ran until last year.\u003c/p>\n\u003cp>“Innovation had effectively been stunted,” says Makan Delrahim, the former antitrust chief at the Justice Department who proposed ending the consent decrees.\u003c/p>\n\u003cp>Delrahim believes \u003cem>Taylor Swift: The Eras Tour\u003c/em> — as a movie distributed by a theater chain, with nontraditional ticket prices — could “fuel new business models to save the exhibitors.”\u003c/p>\n\u003cfigure id=\"attachment_13936192\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg\" alt=\"Taylor Swift, long blond hair blowing in the breeze stands legs apart and pointing theatrically forward. She is singing into a microphone and wearing a blue tassled body suit, leg garter and knee high black boots.\" width=\"1920\" height=\"1390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1604947683-scaled-e1696966929318-1536x1112.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift onstage during her Eras Tour, at SoFi Stadium. \u003ccite>(Kevin Winter/ TAS23/ Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There will be more appetite to experiment different models for theatrical distribution,” Delrahim says. “The industry needs it and, frankly, so do consumers.”\u003c/p>\n\u003cp>The sunsetting of the Paramount Decrees does give AMC a leg up on their competitors. As the distributor as well as an exhibitor, \u003ca href=\"https://www.indiewire.com/news/box-office/taylor-swift-the-eras-tour-amc-infuriates-studios-1234901227/\">AMC was able to set their own showtimes and sell tickets for \u003ci data-stringify-type=\"italic\">Taylor Swift: The Eras Tour\u003c/i> before other theaters\u003c/a>, taking the industry by surprise and adversely affecting smaller, independently run movie theaters, in particular.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is poised to become the biggest concert film ever in about two days of release. Not accounting for inflation, 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> holds that mark with $73.1 million across its entire run. Accounting for inflation, it will be harder for \u003cem>The Eras Tour\u003c/em> to catch \u003cem>Woodstock\u003c/em>, which grossed $50 million in 1970, a total that translates to nearly $400 million today.\u003c/p>\n\u003cp>In Marcus’ theaters, like many other chains, there will be friendship bracelet stations. Sound systems have been modified for more of a concert feel. And while Marcus grants it will be strange to see an AMC logo before a film playing in his theaters, he doesn’t particularly mind.\u003c/p>\n\u003cp>“I’m just happy it’s there,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Gabe Meline contributed reporting.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges",
"headTitle": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges | KQED",
"content": "\u003cp>Over 75 people held a candlelight vigil outside Berkeley’s Alta Bates Summit Medical Center on Sunday night for Stephen Gaines, also known as the rapper \u003ca href=\"https://www.kqed.org/arts/tag/zumbi\">Zumbi\u003c/a> from the group \u003ca href=\"https://www.instagram.com/zion_i_crew/?hl=en\">Zion I\u003c/a>. For more than two hours, supporters and loved ones of the spiritually-minded rapper shared songs, memories and calls for justice.\u003c/p>\n\u003cp>Zumbi died at the hospital in August 2021 after \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">multiple security guards and staff pinned him to the floor and placed their weight on him\u003c/a> for approximately five to 10 minutes. In 2022, one year later, the Alameda County coroner ruled his death a homicide.\u003c/p>\n\u003cp>[aside postID='arts_13920198']But Alameda County prosecutors still have not brought criminal charges against the hospital or the security company, Allied Security. At the vigil, Zumbi’s mother, Carolyn Gaines, expressed her frustration at the inaction.\u003c/p>\n\u003cp>“How do you determine something is a homicide, and then not hold anybody responsible?” asked Gaines.\u003c/p>\n\u003cfigure id=\"attachment_13936062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg\" alt=\"A person with long hair looks down at a set of candles in their hands while standing in a large group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila (center), attends a vigil in memory of her partner, the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Alameda County District Attorney’s Office did not respond to a request for comment. But at the vigil Sunday night, in the shadow of the fourth floor at Alta Bates where Zumbi spent his final moments, supporters made their voices clear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Let’s keep fighting,” urged Millaray Rodriguez Avila, Zumbi’s partner of four years. “It’s not just Zumbi. It’s another brother tomorrow. Another sister tomorrow.”\u003c/p>\n\u003cp>Several hip-hop artists, including \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a> and Zumbi’s partner in Zion I, \u003ca href=\"https://www.instagram.com/amplivesworld/\">Amp Live\u003c/a>, joined the vigil. Oakland musician \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a> shared a freestyle (“Zumbi keeps telling me / Represent light, represent life”), while \u003ca href=\"https://www.instagram.com/damedrummer/?hl=en\">Dame Drummer\u003c/a> accompanied himself on guitar to sing a mournful solo song written just days prior.\u003c/p>\n\u003cfigure id=\"attachment_13936064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg\" alt=\"A person wearing a hat sings outdoors at night surrounded by a group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime collaborator \u003ca href=\"https://www.instagram.com/thegrouch/?hl=en\">The Grouch\u003c/a>, explaining that “Zumbi’s number one thing was to spread music,” played a song for attendees over the P.A. that had never been released: a group effort between himself, Zumbi, Eligh and Choice, with verses dedicated to their five-year-old selves.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, who performed alongside Zion I on Zumbi’s last tour, was more pointed in his call for accountability. “Allied Security, they’ve been known to get away with murder. Even more than the police,” he said.\u003c/p>\n\u003cp>While former District Attorney Nancy O’Malley initially declined to file criminal charges, O’Malley \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">told lawyers and family shortly afterward\u003c/a> that she would revisit the case.\u003c/p>\n\u003cp>Now, with new District Attorney Pamela Price \u003ca href=\"https://www.kqed.org/news/11957036/a-campaign-to-recall-alameda-countys-progressive-da-kicks-off\">facing a recall effort\u003c/a>, Carolyn Gaines lamented, “I don’t know that she will ever get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13936065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg\" alt=\"A group of people gather and hold candles outside of a large building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines and Rodriguez Avila both spoke of their own desire, as well as the need of the public, to view the hospital surveillance video of Zumbi’s death, which neither Alta Bates nor Berkeley Police have agreed to release.\u003c/p>\n\u003cp>The video could answer outstanding questions of how long, exactly, guards were piled on top of Zumbi, as well as the circumstances leading up to it.\u003c/p>\n\u003cp>“I want people to know what happened,” said Rodriguez Avila, one of many who have spoken to Zumbi’s gentle and loving nature, and how impossible it is to imagine him behaving in a physically threatening manner. “It’s not just me, it’s everybody. We want to see.”\u003c/p>\n\u003cp>Meanwhile, a civil lawsuit is in progress. Gaines gave a brief update on that case, saying that attorneys had recently sent interrogatories.\u003c/p>\n\u003cfigure id=\"attachment_13936063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg\" alt=\"A group of people gather, holding candles and singing around the photo of a person with long hair and a goatee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, sing happy birthday to him in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I know some of you have been very frustrated,” Gaines told the crowd. “I want to warn you: Do not think that there is going to be results next month. It may yet be next year. This process moves incredibly slow.”\u003c/p>\n\u003cp>As candles flickered and the air chilled, her final promise brought a round of applause.\u003c/p>\n\u003cp>“As long as God gives me breath,” she said, “be ye assured that Carolyn Webb Gaines will still be on the case.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "More than two years after the artist's death at a Berkeley hospital, his family and community are demanding answers. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 75 people held a candlelight vigil outside Berkeley’s Alta Bates Summit Medical Center on Sunday night for Stephen Gaines, also known as the rapper \u003ca href=\"https://www.kqed.org/arts/tag/zumbi\">Zumbi\u003c/a> from the group \u003ca href=\"https://www.instagram.com/zion_i_crew/?hl=en\">Zion I\u003c/a>. For more than two hours, supporters and loved ones of the spiritually-minded rapper shared songs, memories and calls for justice.\u003c/p>\n\u003cp>Zumbi died at the hospital in August 2021 after \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">multiple security guards and staff pinned him to the floor and placed their weight on him\u003c/a> for approximately five to 10 minutes. In 2022, one year later, the Alameda County coroner ruled his death a homicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Alameda County prosecutors still have not brought criminal charges against the hospital or the security company, Allied Security. At the vigil, Zumbi’s mother, Carolyn Gaines, expressed her frustration at the inaction.\u003c/p>\n\u003cp>“How do you determine something is a homicide, and then not hold anybody responsible?” asked Gaines.\u003c/p>\n\u003cfigure id=\"attachment_13936062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg\" alt=\"A person with long hair looks down at a set of candles in their hands while standing in a large group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila (center), attends a vigil in memory of her partner, the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Alameda County District Attorney’s Office did not respond to a request for comment. But at the vigil Sunday night, in the shadow of the fourth floor at Alta Bates where Zumbi spent his final moments, supporters made their voices clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Let’s keep fighting,” urged Millaray Rodriguez Avila, Zumbi’s partner of four years. “It’s not just Zumbi. It’s another brother tomorrow. Another sister tomorrow.”\u003c/p>\n\u003cp>Several hip-hop artists, including \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a> and Zumbi’s partner in Zion I, \u003ca href=\"https://www.instagram.com/amplivesworld/\">Amp Live\u003c/a>, joined the vigil. Oakland musician \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a> shared a freestyle (“Zumbi keeps telling me / Represent light, represent life”), while \u003ca href=\"https://www.instagram.com/damedrummer/?hl=en\">Dame Drummer\u003c/a> accompanied himself on guitar to sing a mournful solo song written just days prior.\u003c/p>\n\u003cfigure id=\"attachment_13936064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg\" alt=\"A person wearing a hat sings outdoors at night surrounded by a group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime collaborator \u003ca href=\"https://www.instagram.com/thegrouch/?hl=en\">The Grouch\u003c/a>, explaining that “Zumbi’s number one thing was to spread music,” played a song for attendees over the P.A. that had never been released: a group effort between himself, Zumbi, Eligh and Choice, with verses dedicated to their five-year-old selves.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, who performed alongside Zion I on Zumbi’s last tour, was more pointed in his call for accountability. “Allied Security, they’ve been known to get away with murder. Even more than the police,” he said.\u003c/p>\n\u003cp>While former District Attorney Nancy O’Malley initially declined to file criminal charges, O’Malley \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">told lawyers and family shortly afterward\u003c/a> that she would revisit the case.\u003c/p>\n\u003cp>Now, with new District Attorney Pamela Price \u003ca href=\"https://www.kqed.org/news/11957036/a-campaign-to-recall-alameda-countys-progressive-da-kicks-off\">facing a recall effort\u003c/a>, Carolyn Gaines lamented, “I don’t know that she will ever get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13936065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg\" alt=\"A group of people gather and hold candles outside of a large building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines and Rodriguez Avila both spoke of their own desire, as well as the need of the public, to view the hospital surveillance video of Zumbi’s death, which neither Alta Bates nor Berkeley Police have agreed to release.\u003c/p>\n\u003cp>The video could answer outstanding questions of how long, exactly, guards were piled on top of Zumbi, as well as the circumstances leading up to it.\u003c/p>\n\u003cp>“I want people to know what happened,” said Rodriguez Avila, one of many who have spoken to Zumbi’s gentle and loving nature, and how impossible it is to imagine him behaving in a physically threatening manner. “It’s not just me, it’s everybody. We want to see.”\u003c/p>\n\u003cp>Meanwhile, a civil lawsuit is in progress. Gaines gave a brief update on that case, saying that attorneys had recently sent interrogatories.\u003c/p>\n\u003cfigure id=\"attachment_13936063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg\" alt=\"A group of people gather, holding candles and singing around the photo of a person with long hair and a goatee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, sing happy birthday to him in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I know some of you have been very frustrated,” Gaines told the crowd. “I want to warn you: Do not think that there is going to be results next month. It may yet be next year. This process moves incredibly slow.”\u003c/p>\n\u003cp>As candles flickered and the air chilled, her final promise brought a round of applause.\u003c/p>\n\u003cp>“As long as God gives me breath,” she said, “be ye assured that Carolyn Webb Gaines will still be on the case.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "RBD Fans Flock to San Jose's SAP Center for 'Rebelde' Reunion",
"headTitle": "RBD Fans Flock to San Jose’s SAP Center for ‘Rebelde’ Reunion | KQED",
"content": "\u003cfigure id=\"attachment_13936031\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7908.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Guerrero traveled from Gonzales to attend the RBD concert at SAP Center on Friday, Oct. 6, 2023. Guerrero spent a week bedazzling her hat for the group’s reunion tour. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday night in San Jose, RBD devotees filled the SAP Center dressed to the T in bedazzled red blazers, crisp white button-ups, on-theme ties and denim.\u003c/p>\n\u003cp>The legendary Mexican pop group, who catapulted to fame in the 2000s via the wildly popular teen telenovela \u003cem>\u003ca href=\"https://tv.apple.com/us/show/rebelde/umc.cmc.2f8a7abumingof0h8j02li6kq\">Rebelde\u003c/a>\u003c/em>, launched their Soy Rebelde reunion tour in August, with 54 dates at stadiums and arenas spanning Brazil, Colombia, Mexico and the United States.\u003c/p>\n\u003cp>In San Jose, it was undeniable: RBD still has a grip on the hearts of millennials and Gen Zers alike.\u003c/p>\n\u003cfigure id=\"attachment_13936017\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7719.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Paulina Salinas and Miriam Salinas wait in line with friend Marlene Garibay to see RBD perform at SAP Center on Friday, Oct. 6, 2023. The three are long time RBD fans and have listened to the band since their high school days. “Ya estamos trentreinta-onas (we’re in our 30’s now,) but we’re still here,” Paula Salinas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Members \u003ca href=\"https://www.instagram.com/dulcemaria/?hl=en\">Dulce María Espinoza\u003c/a>, \u003ca href=\"https://www.instagram.com/christianchavezreal/?hl=en\">Christian Chávez\u003c/a>, \u003ca href=\"https://www.instagram.com/maiteperroni/?hl=en\">Maite Perroni\u003c/a>, \u003ca href=\"https://www.instagram.com/anahi/?hl=en\">Anahí Puente\u003c/a> and \u003ca href=\"https://www.instagram.com/christophervuckermann/?hl=en\">Christopher von Uckermann\u003c/a> emerged on a floating circular platform that hovered to the center of the SAP stage. Together they ignited euphoric 2000s memories, transforming the arena’s giant screens into vortexes that took many back into their childhood.\u003c/p>\n\u003cp>For many, the show marked a first encounter with RBD outside the confines of a TV screen. An evening once spent glued to the sofa watching the telenovela, shared with family or close friends, had now transformed into a vibrant, shared spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13936038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a 15-year hiatus, RBD’s comeback is shaping up to be one of the biggest reunions in Latin music history — a profoundly nostalgic odyssey for steadfast fans that weaves their remarkable music and legacy into a new generation’s collective memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED’s Paloma Abarca and photographer Estefany Gonzalez stood witness in San Jose, meeting fans embracing their rekindled childhood memories through the iconic garb of \u003ca href=\"https://rebelde.fandom.com/wiki/Elite_Way_School\">Elite Way School\u003c/a>.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13936016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7711.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Cristal Monte, Jasmin Padilla, Rubi Montes and Katherine Cortez sport RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Padilla spend two days bedazzling her boots to dress up for the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7747.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Jimenez wears a handmade RBD-themed hat to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Romero (left) and Nathaly Esquivel stand in line to see RBD perform at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fan-photos_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adilene Garcia holds a sign reading “fan de corazon” (“fan from the heart”) at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936026\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Lombera wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936032\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7915.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy Torres wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936029\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7897.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Yvonne Martinez (left) and Heydi Martinez wear glittery eye make up to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7768.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nail technician Fernando Barron wears ‘Rebelde’-themed nails to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936018\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7724.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Diana Romero, Brenda Romero and Jessica Romero wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Romero spent more than a month customizing her blazer in time to wear it to the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Chavez (left) and Jocelyn Muñoz wear RBD outfits in honor of the uniform from Televisa’s telenovela ‘Rebelde.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936035\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7833.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Ochoa (left) and Anthony Briseño wear Rebelde Jerseys to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936034\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First-time concert attendees Jacob Andrade (left) and Jose Gonzales pose for a portrait at the SAP Center. “Its my first concert, so I’m excited. I’m reliving my childhood,” Andrade said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936020\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7752.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Claudia Jimenez (left) and Rosa Jimenez wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936037\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936028\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7883.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Sanchez wears a jeweled skirt to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The legendary Mexican pop group ignited nostalgic 2000s memories — and inspired dazzling fan outfits.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936031\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7908.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Guerrero traveled from Gonzales to attend the RBD concert at SAP Center on Friday, Oct. 6, 2023. Guerrero spent a week bedazzling her hat for the group’s reunion tour. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday night in San Jose, RBD devotees filled the SAP Center dressed to the T in bedazzled red blazers, crisp white button-ups, on-theme ties and denim.\u003c/p>\n\u003cp>The legendary Mexican pop group, who catapulted to fame in the 2000s via the wildly popular teen telenovela \u003cem>\u003ca href=\"https://tv.apple.com/us/show/rebelde/umc.cmc.2f8a7abumingof0h8j02li6kq\">Rebelde\u003c/a>\u003c/em>, launched their Soy Rebelde reunion tour in August, with 54 dates at stadiums and arenas spanning Brazil, Colombia, Mexico and the United States.\u003c/p>\n\u003cp>In San Jose, it was undeniable: RBD still has a grip on the hearts of millennials and Gen Zers alike.\u003c/p>\n\u003cfigure id=\"attachment_13936017\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7719.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Paulina Salinas and Miriam Salinas wait in line with friend Marlene Garibay to see RBD perform at SAP Center on Friday, Oct. 6, 2023. The three are long time RBD fans and have listened to the band since their high school days. “Ya estamos trentreinta-onas (we’re in our 30’s now,) but we’re still here,” Paula Salinas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Members \u003ca href=\"https://www.instagram.com/dulcemaria/?hl=en\">Dulce María Espinoza\u003c/a>, \u003ca href=\"https://www.instagram.com/christianchavezreal/?hl=en\">Christian Chávez\u003c/a>, \u003ca href=\"https://www.instagram.com/maiteperroni/?hl=en\">Maite Perroni\u003c/a>, \u003ca href=\"https://www.instagram.com/anahi/?hl=en\">Anahí Puente\u003c/a> and \u003ca href=\"https://www.instagram.com/christophervuckermann/?hl=en\">Christopher von Uckermann\u003c/a> emerged on a floating circular platform that hovered to the center of the SAP stage. Together they ignited euphoric 2000s memories, transforming the arena’s giant screens into vortexes that took many back into their childhood.\u003c/p>\n\u003cp>For many, the show marked a first encounter with RBD outside the confines of a TV screen. An evening once spent glued to the sofa watching the telenovela, shared with family or close friends, had now transformed into a vibrant, shared spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13936038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a 15-year hiatus, RBD’s comeback is shaping up to be one of the biggest reunions in Latin music history — a profoundly nostalgic odyssey for steadfast fans that weaves their remarkable music and legacy into a new generation’s collective memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED’s Paloma Abarca and photographer Estefany Gonzalez stood witness in San Jose, meeting fans embracing their rekindled childhood memories through the iconic garb of \u003ca href=\"https://rebelde.fandom.com/wiki/Elite_Way_School\">Elite Way School\u003c/a>.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13936016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7711.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Cristal Monte, Jasmin Padilla, Rubi Montes and Katherine Cortez sport RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Padilla spend two days bedazzling her boots to dress up for the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7747.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Jimenez wears a handmade RBD-themed hat to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Romero (left) and Nathaly Esquivel stand in line to see RBD perform at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fan-photos_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adilene Garcia holds a sign reading “fan de corazon” (“fan from the heart”) at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936026\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Lombera wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936032\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7915.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy Torres wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936029\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7897.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Yvonne Martinez (left) and Heydi Martinez wear glittery eye make up to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7768.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nail technician Fernando Barron wears ‘Rebelde’-themed nails to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936018\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7724.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Diana Romero, Brenda Romero and Jessica Romero wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Romero spent more than a month customizing her blazer in time to wear it to the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Chavez (left) and Jocelyn Muñoz wear RBD outfits in honor of the uniform from Televisa’s telenovela ‘Rebelde.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936035\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7833.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Ochoa (left) and Anthony Briseño wear Rebelde Jerseys to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936034\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First-time concert attendees Jacob Andrade (left) and Jose Gonzales pose for a portrait at the SAP Center. “Its my first concert, so I’m excited. I’m reliving my childhood,” Andrade said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936020\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7752.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Claudia Jimenez (left) and Rosa Jimenez wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936037\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936028\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7883.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Sanchez wears a jeweled skirt to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland’s Tony! Toni! Toné! Are Working On Their First New Album in Almost 30 Years",
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"content": "\u003cp>D’Wayne Wiggins and Timothy Christian Riley didn’t realize that Raphael Saadiq was planting the seeds for a Tony! Toni! Toné! reunion when he arranged a photoshoot earlier this year.\u003c/p>\n\u003cp>“He said a few times before, so we never paid that much attention to it until this fool put up a big-ass billboard in Oakland, and I had to see it through social media,” said vocalist and bass guitarist Wiggins, who wondered if the image was Photoshopped. “I thought someone was playing tricks, morphing our picture.”\u003c/p>\n\u003cp>[aside postid='arts_13935776']Saadiq, the lead singer and guitarist of the beloved R&B group, gathered the trio together, free of any outside influence.\u003c/p>\n\u003cp>“I didn’t tell any of the managers or team or anybody because I just wanted it to be us … I wanted to be in a room where the only power structure was one, two and three,” said Saadiq of his bandmates who are also family: Wiggins is his brother and Riley is their cousin. “We have to be us first before we could talk to anybody because that’s what happened the last time.”\u003c/p>\n\u003cp>Cut to last month, when Tony! Toni! Toné! kicked off their ‘Raphael Saddiq Revisits Tony! Toni! Tone! Just Me And You Tour 2023,’ the first road trip featuring the three original members in nearly 30 years. The trio, who grew up in Oakland and have remained influential in its music scene, will perform three shows in the Bay Area: Nov. 14 and 15 at Oakland’s Paramount Theatre, and Nov. 17 at the Masonic in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been really cool, like rehearsals and the actual shows, just playing together again on a stage,” said Riley, who plays drums and keyboard. “A lot of times, we do production and studio work. But just actually being together, you feel the energy, you feel the love.”\u003c/p>\n\u003cp>That’s not all: the Tonyies, as they call themselves, are currently planning a new project.\u003c/p>\n\u003cp>[aside postid='arts_13935441']“There’s going to be another album … but I thought we need to really hone in on what we’re doing for touring and then go home and then take like two days off, and then start on the album,” said Saadiq, who once served as a member of Prince’s touring band.\u003c/p>\n\u003cp>“We got a lot of material and now we just want to make sure that we put out the right energy through our music,” added Wiggins, who founded an Oakland recording studio and helped develop some of the biggest names in modern R&B.\u003c/p>\n\u003cp>Blending R&B, jazz and traces of gospel, the trio — all alumni of Castlemont High School — burst onto the music scene with their 1988 debut album, \u003cem>Who?,\u003c/em> featuring songs like “Baby Doll” and “Little Walter.” But it was their 1990 New Jack Swing-infused track “Feels Good,” off their sophomore LP, \u003cem>The Revival\u003c/em>, that gave the group mainstream success, peaking at No. 9 on Billboard’s Hot 100 chart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThey released two more studio projects together, with party hits like “Let’s Get Down,” featuring DJ Quik, and timeless slow jams including “Whatever You Want,” “It Never Rains (In Southern California),” “(Lay Your Head on My) Pillow” and “Anniversary,” a standard in the Black music romance canon.\u003c/p>\n\u003cp>“I’ve always wanted a song like ‘Chestnuts’ like Nat King Cole, something that everybody played at some point, and ‘Anniversary’ was that type of song. I knew the subject matter wasn’t one that I thought was dated, but you couldn’t tell me that it was going to be this type of song,” said Saadiq. “When it comes on and couples grab each other, we know that it took on a whole different life that we couldn’t see.”\u003c/p>\n\u003cp>The blood relatives also couldn’t predict how their success would affect their relationship. The Tonyies went their separate ways after their fourth album, 1996’s platinum-selling \u003cem>House of Music\u003c/em>. Fame, finances, miscommunication and creative differences were unsustainable for the group. However, Saadiq is hesitant to use the word “breakup.”\u003c/p>\n\u003cp>[aside postid='arts_13810633']“I didn’t call them and go, ‘I quit! I’m mad at you guys!’ It wasn’t even like that. We’d been around each other our whole life,” said Saadiq. “What everybody saw as a breakup wasn’t really a breakup; we just noticed that we weren’t making music at that time.”\u003c/p>\n\u003cp>Wiggins and Riley toured under the group’s name between 1998 and 2018, with Amar Khalil taking over lead singing duties. Riley played on tracks for artists like Will Smith and Alicia Keys, and still collaborated with Saadiq on various songs.\u003c/p>\n\u003cp>Wiggins, meanwhile, opened his West Oakland recording studio House of Music, where he produced and helped grow young artists who would become some of today’s brightest young stars, including Zendaya, H.E.R., Kehlani and even Destiny’s Child: he signed the group to his label Grass Roots Entertainment in 1994, back when they were known as Girls’ Tyme. He’s also worked with some of the biggest names in Bay Area hip-hop, including Too Short, Messy Marv and The Coup.\u003c/p>\n\u003cp>Saadiq achieved remarkable solo success with five solo studio albums, fashioning hits like “Ask of You,” “Be Here” featuring D’Angelo, “Get Involved” with Q-Tip and “Love That Girl.” He produced big records like Erykah Badu’s “Love of My Life” and two of D’Angelo’s biggest songs, “Lady” and “Untitled (How Does It Feel),” and also worked with Whitney Houston, Mary J. Blige and TLC. In 2000, he joined En Vogue’s Dawn Robinson and Ali Shaheed Muhammad from A Tribe Called Quest to form the supergroup Lucy Pearl, resulting in the popular song “Dance Tonight.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dYWuAw_aCZY\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nSaadiq has also had hits with both Beyoncé and Solange Knowles: In 2016, he executive produced Solange’s critically acclaimed album \u003cem>A Seat at the Table\u003c/em>. And earlier this year, he was involved in Beyoncé’s \u003cem>Renaissance\u003c/em> project, helping write and produce “PURE/HONEY” and the Grammy-winning “CUFF IT” (its funky guitar rhythm was originally created for a potential Tony! Toni! Toné song, he has said).\u003c/p>\n\u003cp>While their careers have thrived separately, Saadiq and Riley, both 57, and Wiggins, 62, say they’re relishing in their reunion. The family members vow not to let outside influences like managers, record executives and the entertainment business as a whole drive them apart again, realizing that time — at least in the professional sense — is no longer a luxury.\u003c/p>\n\u003cp>“I think it’s been really cool to hear younger kids sample our music and make new songs with our music,” Riley said. “It’s like it lives on and you have a whole new generation that actually knows about you.”\u003c/p>\n\u003cp>Saadiq agrees and is trying to live in the moment.\u003c/p>\n\u003cp>“We did always feel the love from our peers and fans and people just in general — it felt really good,” he said. “But it feels different now — we feel the love. We can actually step outside of who we are, and then actually smell the roses.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci data-stringify-type=\"italic\">Emma Silvers contributed reporting.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s going to be another album … but I thought we need to really hone in on what we’re doing for touring and then go home and then take like two days off, and then start on the album,” said Saadiq, who once served as a member of Prince’s touring band.\u003c/p>\n\u003cp>“We got a lot of material and now we just want to make sure that we put out the right energy through our music,” added Wiggins, who founded an Oakland recording studio and helped develop some of the biggest names in modern R&B.\u003c/p>\n\u003cp>Blending R&B, jazz and traces of gospel, the trio — all alumni of Castlemont High School — burst onto the music scene with their 1988 debut album, \u003cem>Who?,\u003c/em> featuring songs like “Baby Doll” and “Little Walter.” But it was their 1990 New Jack Swing-infused track “Feels Good,” off their sophomore LP, \u003cem>The Revival\u003c/em>, that gave the group mainstream success, peaking at No. 9 on Billboard’s Hot 100 chart.\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/Jfoxsfhi-kk'\n title='//www.youtube.com/embed/Jfoxsfhi-kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThey released two more studio projects together, with party hits like “Let’s Get Down,” featuring DJ Quik, and timeless slow jams including “Whatever You Want,” “It Never Rains (In Southern California),” “(Lay Your Head on My) Pillow” and “Anniversary,” a standard in the Black music romance canon.\u003c/p>\n\u003cp>“I’ve always wanted a song like ‘Chestnuts’ like Nat King Cole, something that everybody played at some point, and ‘Anniversary’ was that type of song. I knew the subject matter wasn’t one that I thought was dated, but you couldn’t tell me that it was going to be this type of song,” said Saadiq. “When it comes on and couples grab each other, we know that it took on a whole different life that we couldn’t see.”\u003c/p>\n\u003cp>The blood relatives also couldn’t predict how their success would affect their relationship. The Tonyies went their separate ways after their fourth album, 1996’s platinum-selling \u003cem>House of Music\u003c/em>. Fame, finances, miscommunication and creative differences were unsustainable for the group. However, Saadiq is hesitant to use the word “breakup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t call them and go, ‘I quit! I’m mad at you guys!’ It wasn’t even like that. We’d been around each other our whole life,” said Saadiq. “What everybody saw as a breakup wasn’t really a breakup; we just noticed that we weren’t making music at that time.”\u003c/p>\n\u003cp>Wiggins and Riley toured under the group’s name between 1998 and 2018, with Amar Khalil taking over lead singing duties. Riley played on tracks for artists like Will Smith and Alicia Keys, and still collaborated with Saadiq on various songs.\u003c/p>\n\u003cp>Wiggins, meanwhile, opened his West Oakland recording studio House of Music, where he produced and helped grow young artists who would become some of today’s brightest young stars, including Zendaya, H.E.R., Kehlani and even Destiny’s Child: he signed the group to his label Grass Roots Entertainment in 1994, back when they were known as Girls’ Tyme. He’s also worked with some of the biggest names in Bay Area hip-hop, including Too Short, Messy Marv and The Coup.\u003c/p>\n\u003cp>Saadiq achieved remarkable solo success with five solo studio albums, fashioning hits like “Ask of You,” “Be Here” featuring D’Angelo, “Get Involved” with Q-Tip and “Love That Girl.” He produced big records like Erykah Badu’s “Love of My Life” and two of D’Angelo’s biggest songs, “Lady” and “Untitled (How Does It Feel),” and also worked with Whitney Houston, Mary J. Blige and TLC. In 2000, he joined En Vogue’s Dawn Robinson and Ali Shaheed Muhammad from A Tribe Called Quest to form the supergroup Lucy Pearl, resulting in the popular song “Dance Tonight.”\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/dYWuAw_aCZY'\n title='//www.youtube.com/embed/dYWuAw_aCZY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nSaadiq has also had hits with both Beyoncé and Solange Knowles: In 2016, he executive produced Solange’s critically acclaimed album \u003cem>A Seat at the Table\u003c/em>. And earlier this year, he was involved in Beyoncé’s \u003cem>Renaissance\u003c/em> project, helping write and produce “PURE/HONEY” and the Grammy-winning “CUFF IT” (its funky guitar rhythm was originally created for a potential Tony! Toni! Toné song, he has said).\u003c/p>\n\u003cp>While their careers have thrived separately, Saadiq and Riley, both 57, and Wiggins, 62, say they’re relishing in their reunion. The family members vow not to let outside influences like managers, record executives and the entertainment business as a whole drive them apart again, realizing that time — at least in the professional sense — is no longer a luxury.\u003c/p>\n\u003cp>“I think it’s been really cool to hear younger kids sample our music and make new songs with our music,” Riley said. “It’s like it lives on and you have a whole new generation that actually knows about you.”\u003c/p>\n\u003cp>Saadiq agrees and is trying to live in the moment.\u003c/p>\n\u003cp>“We did always feel the love from our peers and fans and people just in general — it felt really good,” he said. “But it feels different now — we feel the love. We can actually step outside of who we are, and then actually smell the roses.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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