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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are three ingredients necessary to make a perfect breakup anthem.\u003c/p>\n\u003col>\n\u003cli>Bitterness with a soupçon of rage\u003c/li>\n\u003cli>Sharp jabs directed at the ex, and\u003c/li>\n\u003cli>A catchy goddamn chorus.\u003c/li>\n\u003c/ol>\n\u003cp>When the sufficiently pissed off songwriter brews these three together correctly, a special alchemy takes place and lightning strikes. (See: “You Outta Know” by Alanis Morissette, “F–k You” by CeeLo Green, Fleetwood Mac’s “Go Your Own Way,” etc.)\u003c/p>\n\u003cp>Enter San Francisco’s own \u003ca href=\"https://www.meganslankard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Slankard\u003c/a> and her new single “California”—a soaring breakup track that Slankard says should act as a “gentle reminder of why it might not be the best idea to date a songwriter.” It’s a song that checks all the breakup anthem boxes, sneaks up on you, then gets stuck in your head for days.\u003c/p>\n\u003cp>Within the first verse, Slankard is berating her ex for being a mama’s boy and running away from his issues. A single drumbeat runs underneath it all, hitting sporadically like closed fist punches. Then comes a dismissal—”\u003cem>You do what you’ve gotta, you take what you wanna\u003c/em>“—followed by a firm demand. “\u003cem>You’d better leave me with California\u003c/em>,” Slankard seethes. The whole thing takes off in Tom Petty-esque guitar flourishes, soulful excoriations and even some “\u003cem>na-na-na\u003c/em>“s to yell along with in a live setting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The video is a love letter to San Francisco, with all its (literal) ups and downs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GfjI_Orb4Ks\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“California” is the first new music Slankard has released since the pandemic. The single is available on all platforms now and will also be on Slankard’s upcoming album\u003cem> California and Other Stories, \u003c/em>dropping Oct. 28. In the meantime, you can catch Slankard at \u003ca href=\"https://dice.fm/event/9dqe7-glen-phillips-of-toad-the-wet-sprocket-16th-sep-the-guild-theatre-menlo-park-tickets\">Menlo Park’s Guild Theater on Sept. 16\u003c/a> if you’d like do some cathartic singing along in person.\u003c/p>\n\n",
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"content": "\u003cp>\u003cstrong>Update, Sept. 7, 2022: \u003c/strong>A new round of artists has been announced as part of the lineup for this year’s Hardly Strictly Bluegrass festival, set to take place Sept. 30 through Oct. 2. Acts include Elvis Costello, Steve Earle & the Dukes, The Travelin’ McCourys, Bob Schneider, Moonalice, Cymande, Arooj Aftab, Cedric Watson, Alison Brown and Jim Lauderdale.\u003c/p>\n\u003cp>Steve Earle is scheduled to host a tribute to longtime festival regulars who have died over the past few years, like John Prine, Justin Townes Earle and Nancy Bechtle.\u003c/p>\n\u003cp>And Elvis Costello has added a night show: “Elvis Sings Hunter-Garcia,” a tribute to the Grateful Dead’s Robert Hunter and Jerry Garcia, is set for Sept. 30 at the Great American Music Hall, with two shows at 7 and 10pm. The evening is a benefit for the nonprofit Prader-Willi Homes of California, which funds residential facilities for people with developmental disabilities. \u003ca href=\"https://gamh.com/shows-elvis-costello-sings-hunter-garcia/\">Tickets and more info here\u003c/a>.\u003c/p>\n\u003cp>Organizers say the full festival lineup will be announced Sept. 13. Check out the lineup (so far) on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">HSB website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 10, 2022: \u003c/strong>Festival organizers have rolled out a second installment of the lineup for this year’s Hardly Strictly Bluegrass, and it’s a good one, with a strong local showing. Artists added to the slate include festival veteran Emmylou Harris, Talking Heads’ Jerry Harrison & Adrian Belew performing songs from “Remain In Light,” Sacramento’s Tré Burt, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\">Meklit\u003c/a>, Petaluma-born \u003ca href=\"https://www.kqed.org/arts/13838086/the-brothers-comatoses-trade-deal-with-china-bluegrass\">the Brothers Comatose\u003c/a>, Seratones, the Tallest Man On Earth, \u003ca href=\"https://www.npr.org/sections/now-playing/2022/02/22/1082325550/jake-blount-the-man-was-burning\">Jake Blount\u003c/a>, Sarah Shook & the Disarmers and Antibalas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Playing Hardly Strictly for the first time ever this year feels a bit like coming home,” Tré Burt told organizers. “I used to sneak in and play for as long as I could on the footpaths before eventually being kicked out by security back in the day, so it feels great to actually be invited onto the stage!”\u003c/p>\n\u003cp>Expect at least one or two more lineup announcements in the coming weeks, teased on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">festival’s website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, July 27, 2022:\u003c/strong> Hardly Strictly Bluegrass organizers have released \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">an initial lineup\u003c/a> for this year’s festival. Artists slated to perform include Marcus Mumford, Allison Russell, Las Cafeteras, Lucius, Galactic, AJ Lee & Blue Summit, Joy Oladokun, Charley Crockett, Buddy Miller and Dashawn Hickman. Further lineup announcements are expected in the coming weeks, teased \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\" target=\"_blank\" rel=\"noopener noreferrer\">via song medleys on the festival’s website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, July 21, 2022:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass, the free music festival, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">is scheduled to return in-person\u003c/a> to Golden Gate Park this year for the first time since 2019. The festival will run Sept. 30 through Oct. 2.\u003c/p>\n\u003cp>The lineup of performers at this year’s Hardly Strictly festival has yet to be announced, with organizers planning to roll out artist announcements—via hint-filled song medleys—beginning July 26.\u003c/p>\n\u003cp>The all-ages festival was founded in 2001 by the late venture capitalist and bluegrass fan Warren Hellman, and has become a beginning-of-fall \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" target=\"_blank\" rel=\"noopener noreferrer\">tradition for a generation of San Franciscans\u003c/a> ever since. In pre-pandemic years, the fest reliably drew more than half a million people to Golden Gate Park for performances by folk and bluegrass icons like Emmylou Harris, John Prine, Steve Earle and Mavis Staples.\u003c/p>\n\u003cp>[aside postID='arts_13810342']The 2020 and 2021 Hardly Strictly festivals were held virtually online due to COVID, with livestreams of performances by the likes of Bonnie Raitt, Boz Scaggs, Chuck Prophet, Fantastic Negrito and Rainbow Girls.\u003c/p>\n\u003cp>Still funded by the Hellman Foundation more than a decade after its founder’s death, the festival remains free to attendees, and has never taken on corporate sponsors, making it a cherished anomaly in the current music festival landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Visit the festival’s website\u003c/a> for more information and lineup announcements beginning next week.\u003c/p>\n\n",
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"excerpt": "After two years of livestreamed events, the free music festival will return to Golden Gate Park Sept. 30 through Oct. 2.",
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"title": "Elvis Costello, Steve Earle, Alison Brown and More to Play Hardly Strictly Bluegrass 2022 | KQED",
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"headline": "Elvis Costello, Steve Earle, Alison Brown and More to Play Hardly Strictly Bluegrass 2022",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Sept. 7, 2022: \u003c/strong>A new round of artists has been announced as part of the lineup for this year’s Hardly Strictly Bluegrass festival, set to take place Sept. 30 through Oct. 2. Acts include Elvis Costello, Steve Earle & the Dukes, The Travelin’ McCourys, Bob Schneider, Moonalice, Cymande, Arooj Aftab, Cedric Watson, Alison Brown and Jim Lauderdale.\u003c/p>\n\u003cp>Steve Earle is scheduled to host a tribute to longtime festival regulars who have died over the past few years, like John Prine, Justin Townes Earle and Nancy Bechtle.\u003c/p>\n\u003cp>And Elvis Costello has added a night show: “Elvis Sings Hunter-Garcia,” a tribute to the Grateful Dead’s Robert Hunter and Jerry Garcia, is set for Sept. 30 at the Great American Music Hall, with two shows at 7 and 10pm. The evening is a benefit for the nonprofit Prader-Willi Homes of California, which funds residential facilities for people with developmental disabilities. \u003ca href=\"https://gamh.com/shows-elvis-costello-sings-hunter-garcia/\">Tickets and more info here\u003c/a>.\u003c/p>\n\u003cp>Organizers say the full festival lineup will be announced Sept. 13. Check out the lineup (so far) on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">HSB website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Aug. 10, 2022: \u003c/strong>Festival organizers have rolled out a second installment of the lineup for this year’s Hardly Strictly Bluegrass, and it’s a good one, with a strong local showing. Artists added to the slate include festival veteran Emmylou Harris, Talking Heads’ Jerry Harrison & Adrian Belew performing songs from “Remain In Light,” Sacramento’s Tré Burt, San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\">Meklit\u003c/a>, Petaluma-born \u003ca href=\"https://www.kqed.org/arts/13838086/the-brothers-comatoses-trade-deal-with-china-bluegrass\">the Brothers Comatose\u003c/a>, Seratones, the Tallest Man On Earth, \u003ca href=\"https://www.npr.org/sections/now-playing/2022/02/22/1082325550/jake-blount-the-man-was-burning\">Jake Blount\u003c/a>, Sarah Shook & the Disarmers and Antibalas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Playing Hardly Strictly for the first time ever this year feels a bit like coming home,” Tré Burt told organizers. “I used to sneak in and play for as long as I could on the footpaths before eventually being kicked out by security back in the day, so it feels great to actually be invited onto the stage!”\u003c/p>\n\u003cp>Expect at least one or two more lineup announcements in the coming weeks, teased on the \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">festival’s website here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, July 27, 2022:\u003c/strong> Hardly Strictly Bluegrass organizers have released \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\">an initial lineup\u003c/a> for this year’s festival. Artists slated to perform include Marcus Mumford, Allison Russell, Las Cafeteras, Lucius, Galactic, AJ Lee & Blue Summit, Joy Oladokun, Charley Crockett, Buddy Miller and Dashawn Hickman. Further lineup announcements are expected in the coming weeks, teased \u003ca href=\"https://www.hardlystrictlybluegrass.com/headline/hsb22-artist-medley-1/\" target=\"_blank\" rel=\"noopener noreferrer\">via song medleys on the festival’s website\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original story, July 21, 2022:\u003c/strong>\u003c/p>\n\u003cp>Hardly Strictly Bluegrass, the free music festival, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\">is scheduled to return in-person\u003c/a> to Golden Gate Park this year for the first time since 2019. The festival will run Sept. 30 through Oct. 2.\u003c/p>\n\u003cp>The lineup of performers at this year’s Hardly Strictly festival has yet to be announced, with organizers planning to roll out artist announcements—via hint-filled song medleys—beginning July 26.\u003c/p>\n\u003cp>The all-ages festival was founded in 2001 by the late venture capitalist and bluegrass fan Warren Hellman, and has become a beginning-of-fall \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" target=\"_blank\" rel=\"noopener noreferrer\">tradition for a generation of San Franciscans\u003c/a> ever since. In pre-pandemic years, the fest reliably drew more than half a million people to Golden Gate Park for performances by folk and bluegrass icons like Emmylou Harris, John Prine, Steve Earle and Mavis Staples.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 2020 and 2021 Hardly Strictly festivals were held virtually online due to COVID, with livestreams of performances by the likes of Bonnie Raitt, Boz Scaggs, Chuck Prophet, Fantastic Negrito and Rainbow Girls.\u003c/p>\n\u003cp>Still funded by the Hellman Foundation more than a decade after its founder’s death, the festival remains free to attendees, and has never taken on corporate sponsors, making it a cherished anomaly in the current music festival landscape.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Visit the festival’s website\u003c/a> for more information and lineup announcements beginning next week.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene",
"headTitle": "Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene | KQED",
"content": "\u003cp>At this year’s \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>, on Sept. 5, you got the sense that Oakland’s hip-hop scene is one big family. Only at this festival—put on by the venerated crew behind hits like “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">’93 Til Infinity\u003c/a>”—do you see Bay Area stars like Mistah F.A.B. and D-Lo walking through the crowd shaking hands, or Hieroglyphics’ own Tajai working the ticket booth and personally welcoming fans.\u003c/p>\n\u003cp>Longtime listeners could be seen coming up to OG artists, giving hugs and reminiscing. A well-curated lineup of both emerging rappers and seasoned legends drew crowds of teens through 50-somethings willing to brave the heat wave. People brought small children, babies and dogs. Above all, the festival celebrated the Bay Area’s hip-hop lineage—how distinctive styles like mobb music, hyphy and conscious rap have informed each other throughout the decades, and how younger artists are taking that legacy and building something new.\u003c/p>\n\u003cfigure id=\"attachment_13918706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 (right) performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year off in 2020, and a scaled-down event in 2021, Hiero Day made a true return this year for its 10th anniversary. The event wasn’t perfect—more water stations would have helped, as temperatures on 3rd Street and Martin Luther King Jr. Way climbed to 99 degrees. The three stages ran a couple hours behind schedule, with no way to communicate lineup changes.\u003c/p>\n\u003cp>But so it goes at Hiero Day, where it’s better to stroll around and vibe instead of over-planning your afternoon. The event stands as one of the last affordable, unpretentious music festivals in the Bay Area, and its laid-back atmosphere once again made it a gem. Here’s what we saw this year.\u003c/p>\n\u003cfigure id=\"attachment_13918693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mekanix Bring Out Keak Da Sneak\u003c/h2>\n\u003cp>\u003ca href=\"https://www.themekanix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mekanix\u003c/a> specialize in trunk-rattling beats, but this mobb music super-producer duo wasn’t behind the decks during their Hiero Day set. Instead, 4rAx and Kenny Tweed took the main stage, hyping the crowd as DJ D Sharp (who spins for the Golden State Warriors) dropped song after song crafted by The Mekanix for their featured artists—E-40, Snoop Dogg, the list goes on. The audience was already hyped.\u003c/p>\n\u003cfigure id=\"attachment_13918716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">4rAx and Kenny Tweed of The Mekanix perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, magic began to happen as guest artists joined The Mekanix and their dancers on stage. Mob Figaz’ Husalah, who swore he doesn’t really rap anymore, jumped into the crowd, moshed and rhymed a cappella. When Keak the Sneak came out on stage, the crowd went crazy—and went even crazier when he performed “Super Hyphy,” produced by \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">the late Traxamillion\u003c/a>, a track Baydestrians young and old have tattooed on their hearts almost 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_13918715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Grouch performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Zion I Tribute Honors Zumbi’s Legacy\u003c/h2>\n\u003cp>Stephen Gaines, a.k.a. Baba Zumbi, died under mysterious circumstances at Alta Bates Medical Center in Berkeley just over a year ago, and his family, friends and fans are \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\" target=\"_blank\" rel=\"noopener noreferrer\">still waiting for answers and accountability\u003c/a>. It’s difficult to heal without closure, but moments of joy shone through the sadness at his tribute concert featuring MCs The Grouch, Deuce Eclipse and Dustin Sharpe, with Kev Choice on keys and Codany Holiday IV singing soaring backing vocals. Amp Live, Zumbi’s music partner in the duo Zion I, looked on as the ensemble covered tracks like “Don’t Lose Your Head” and “The Bay,” sometimes letting Zumbi’s recorded voice take over.\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a particularly resonant moment, Choice stepped out from behind his keyboard to rap “\u003ca href=\"https://www.youtube.com/watch?v=CBY-JWKBV9w\" target=\"_blank\" rel=\"noopener noreferrer\">My Antenna\u003c/a>,” which, in this context, sounded like a yearning to reach someone who’s already in the afterlife. The performance came to a beautiful close when Zumbi’s entire family, including his three young boys, stood up on stage during “Coastin’” to feel the love from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Food for Thought and Laughs from LaRussell\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>’s casual uniform of Crocs and a T-shirt lends him a sort of down-to-earth relatability, but that belies his powerful confidence and lyrical insight. On the smaller 3rd Eye Stage at Hiero Day, the quickly rising Vallejo rapper captivated a small but appreciative crowd, holding each person’s gaze as if rapping directly to them.\u003c/p>\n\u003cfigure id=\"attachment_13918674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell has an uncanny ability to switch between sermon-like wisdom (he restarted several tracks to make sure the audience was really listening) and free-spirited moments of silliness and dancing, taking the crowd along for the ride. When LaRussell raps about building his own opportunities—like the music venue he started in his backyard—you can’t help but believe in him and the\u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\"> self-starting, independent musical community\u003c/a> he’s created in Vallejo. The performance touched listeners’ hearts and left them with big smiles.\u003c/p>\n\u003cfigure id=\"attachment_13918696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Delivers a Rare Intimate Performance\u003c/h2>\n\u003cp>Keyshia Cole has played for arenas of tens of thousands, so her headlining set in front of an intimate hometown crowd that grew up alongside her was something special. After taking the stage with her backup dancers, the Oakland R&B star dropped the formalities and began asking the audience what they wanted to hear. When they shouted “Let It Go,” she indulged, performing her post-breakup dancefloor hit featuring Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13918698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then she began talking to the audience like family—she mentioned her skyrocketing rise in the music industry in the early 2000s, her mother’s drug addiction, her anxiety. “I made it, so fuck that, that’s not the end of my story,” Cole said as she announced that she’s filming a movie about her life. When she belted her ballad “Love” in front of a peachy sunset sky, the entire audience sang along.\u003c/p>\n\u003cfigure id=\"attachment_13918699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SoLauren Adams and Karega Bailey at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918703\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "An intergenerational crowd braved the heat wave to see Keyshia Cole, Hieroglyphics, LaRussell and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this year’s \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>, on Sept. 5, you got the sense that Oakland’s hip-hop scene is one big family. Only at this festival—put on by the venerated crew behind hits like “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">’93 Til Infinity\u003c/a>”—do you see Bay Area stars like Mistah F.A.B. and D-Lo walking through the crowd shaking hands, or Hieroglyphics’ own Tajai working the ticket booth and personally welcoming fans.\u003c/p>\n\u003cp>Longtime listeners could be seen coming up to OG artists, giving hugs and reminiscing. A well-curated lineup of both emerging rappers and seasoned legends drew crowds of teens through 50-somethings willing to brave the heat wave. People brought small children, babies and dogs. Above all, the festival celebrated the Bay Area’s hip-hop lineage—how distinctive styles like mobb music, hyphy and conscious rap have informed each other throughout the decades, and how younger artists are taking that legacy and building something new.\u003c/p>\n\u003cfigure id=\"attachment_13918706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 (right) performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year off in 2020, and a scaled-down event in 2021, Hiero Day made a true return this year for its 10th anniversary. The event wasn’t perfect—more water stations would have helped, as temperatures on 3rd Street and Martin Luther King Jr. Way climbed to 99 degrees. The three stages ran a couple hours behind schedule, with no way to communicate lineup changes.\u003c/p>\n\u003cp>But so it goes at Hiero Day, where it’s better to stroll around and vibe instead of over-planning your afternoon. The event stands as one of the last affordable, unpretentious music festivals in the Bay Area, and its laid-back atmosphere once again made it a gem. Here’s what we saw this year.\u003c/p>\n\u003cfigure id=\"attachment_13918693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mekanix Bring Out Keak Da Sneak\u003c/h2>\n\u003cp>\u003ca href=\"https://www.themekanix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mekanix\u003c/a> specialize in trunk-rattling beats, but this mobb music super-producer duo wasn’t behind the decks during their Hiero Day set. Instead, 4rAx and Kenny Tweed took the main stage, hyping the crowd as DJ D Sharp (who spins for the Golden State Warriors) dropped song after song crafted by The Mekanix for their featured artists—E-40, Snoop Dogg, the list goes on. The audience was already hyped.\u003c/p>\n\u003cfigure id=\"attachment_13918716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">4rAx and Kenny Tweed of The Mekanix perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, magic began to happen as guest artists joined The Mekanix and their dancers on stage. Mob Figaz’ Husalah, who swore he doesn’t really rap anymore, jumped into the crowd, moshed and rhymed a cappella. When Keak the Sneak came out on stage, the crowd went crazy—and went even crazier when he performed “Super Hyphy,” produced by \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">the late Traxamillion\u003c/a>, a track Baydestrians young and old have tattooed on their hearts almost 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_13918715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Grouch performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Zion I Tribute Honors Zumbi’s Legacy\u003c/h2>\n\u003cp>Stephen Gaines, a.k.a. Baba Zumbi, died under mysterious circumstances at Alta Bates Medical Center in Berkeley just over a year ago, and his family, friends and fans are \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\" target=\"_blank\" rel=\"noopener noreferrer\">still waiting for answers and accountability\u003c/a>. It’s difficult to heal without closure, but moments of joy shone through the sadness at his tribute concert featuring MCs The Grouch, Deuce Eclipse and Dustin Sharpe, with Kev Choice on keys and Codany Holiday IV singing soaring backing vocals. Amp Live, Zumbi’s music partner in the duo Zion I, looked on as the ensemble covered tracks like “Don’t Lose Your Head” and “The Bay,” sometimes letting Zumbi’s recorded voice take over.\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a particularly resonant moment, Choice stepped out from behind his keyboard to rap “\u003ca href=\"https://www.youtube.com/watch?v=CBY-JWKBV9w\" target=\"_blank\" rel=\"noopener noreferrer\">My Antenna\u003c/a>,” which, in this context, sounded like a yearning to reach someone who’s already in the afterlife. The performance came to a beautiful close when Zumbi’s entire family, including his three young boys, stood up on stage during “Coastin’” to feel the love from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Food for Thought and Laughs from LaRussell\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>’s casual uniform of Crocs and a T-shirt lends him a sort of down-to-earth relatability, but that belies his powerful confidence and lyrical insight. On the smaller 3rd Eye Stage at Hiero Day, the quickly rising Vallejo rapper captivated a small but appreciative crowd, holding each person’s gaze as if rapping directly to them.\u003c/p>\n\u003cfigure id=\"attachment_13918674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell has an uncanny ability to switch between sermon-like wisdom (he restarted several tracks to make sure the audience was really listening) and free-spirited moments of silliness and dancing, taking the crowd along for the ride. When LaRussell raps about building his own opportunities—like the music venue he started in his backyard—you can’t help but believe in him and the\u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\"> self-starting, independent musical community\u003c/a> he’s created in Vallejo. The performance touched listeners’ hearts and left them with big smiles.\u003c/p>\n\u003cfigure id=\"attachment_13918696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Delivers a Rare Intimate Performance\u003c/h2>\n\u003cp>Keyshia Cole has played for arenas of tens of thousands, so her headlining set in front of an intimate hometown crowd that grew up alongside her was something special. After taking the stage with her backup dancers, the Oakland R&B star dropped the formalities and began asking the audience what they wanted to hear. When they shouted “Let It Go,” she indulged, performing her post-breakup dancefloor hit featuring Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13918698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then she began talking to the audience like family—she mentioned her skyrocketing rise in the music industry in the early 2000s, her mother’s drug addiction, her anxiety. “I made it, so fuck that, that’s not the end of my story,” Cole said as she announced that she’s filming a movie about her life. When she belted her ballad “Love” in front of a peachy sunset sky, the entire audience sang along.\u003c/p>\n\u003cfigure id=\"attachment_13918699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SoLauren Adams and Karega Bailey at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918703\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Your Best Bets for Jazz and Classical in the Bay Area This Fall",
"headTitle": "Your Best Bets for Jazz and Classical in the Bay Area This Fall | KQED",
"content": "\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/fallarts2022\">\u003cem>Find more of KQED’s picks for the best Fall 2022 events here.\u003c/em>\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>The leaves turn, the days shorten and, each fall, performing arts groups ready their new seasons. While my colleague Nastia Voynovskaya brings you \u003ca href=\"https://www.kqed.org/arts/13917837/fall-arts-2022-concerts-clubs\" rel=\"noopener noreferrer\" target=\"_blank\">the top concerts, festivals and nightclub dates this fall\u003c/a>, here are KQED’s picks for the grown-and-seasoned lovers of jazz and classical. \u003c/p>\n\u003cfigure id=\"attachment_13918615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg\" alt=\"a woman in an orange dress and a man in a green robe embrace against a black backdrop on stage\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amina Edris as Cleopatra and Gerald Finley as Antony in a rehearsal still from SF Opera’s ‘Antony and Cleopatra.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\">Antony and Cleopatra\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 10–Oct. 5\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>The last time John Adams premiered an opera at the War Memorial Opera House, he dug back into California history for \u003cem>Girls of the Golden West\u003c/em>, a gold-rush story that KQED Arts & Culture’s Nastia Voynovskaya called “\u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" rel=\"noopener noreferrer\" target=\"_blank\">a timely dialogue about our state history that helps us better understand the present\u003c/a>.” This time around, Adams travels back even further, to one of the world’s most famous love stories, as composer and librettist. Any new work by Adams is cause for celebration, and under the direction of Elkhanah Pulitzer, \u003cem>Antony and Cleopatra\u003c/em> stars Gerald Finley and Amina Edris in the title roles.\u003c/p>\n\u003cfigure id=\"attachment_13918636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg\" alt=\"a Black man in a Converse All-Stars t-shirt stands on front of a drum set\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Cobham celebrates his second album, Crosswinds, at Yoshi’s in September. \u003ccite>(Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/billy-cobham-1/detail\" rel=\"noopener noreferrer\" target=\"_blank\">Billy Cobham’s Crosswinds Project\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 20–21\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>The venerable Oakland jazz club Yoshi’s has a sampladelic fall coming up. Bob James, who has been sampled so many times in hip-hop songs that he’s devoted \u003ca href=\"https://www.youtube.com/watch?v=1NI5Nl4XvXM\" rel=\"noopener noreferrer\" target=\"_blank\">a whole YouTube reaction series\u003c/a> to them, hits the Yoshi’s stage Oct. 23. But drummers will rejoice at the booking of Billy Cobham, who plays Yoshi’s Sept. 20–21. Of course, here in the Bay Area, we know Cobham’s “\u003ca href=\"https://youtu.be/e3E9vx5vVck?t=258\" rel=\"noopener noreferrer\" target=\"_blank\">Heather\u003c/a>” as the sample source for one of our bona fide anthems: “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" rel=\"noopener noreferrer\" target=\"_blank\">93 Til Infinity\u003c/a>.” It’s serendipity, then, that he brings to Oakland his Crossroads Project, a group formed to celebrate \u003cem>Crossroads\u003c/em>, the album containing “Heather”—and the inadvertent seed of a Bay Area hip-hop hit.\u003c/p>\n\u003cfigure id=\"attachment_13918637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg\" alt=\"a man at the drums and a man playing saxophone, in diptych\" width=\"800\" height=\"338\" class=\"size-medium wp-image-13918637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1536x648.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Smith (left) and Immanuel Wilkins (right) come to SFJAZZ as part of the ‘Traditions in Transition’ series. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/nate-smith-immanuel-wilkins/\">Nate Smith + Kinfolk / Immanuel Wilkins Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nSFJAZZ Miner Auditorium, San Francisco\u003c/em>\u003c/p>\n\u003cp>With SFJAZZ’s upcoming ‘\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2022&event-type=3&series=50850\" rel=\"noopener noreferrer\" target=\"_blank\">Traditions in Transition\u003c/a>’ series, no jazz fan should miss out on the chance to see Joshua Redman, Christian McBride, Brad Mehldau and Brian Blade (Sept. 23), Julian Lage (Sept. 24) or Orquesta Akokan (Sept. 25). But I’m gonna give it up for the new breed here with drummer Nate Smith and alto saxophonist Immanuel Wilkins. Wilkins’ latest album for Blue Note, \u003cem>The 7th Hand\u003c/em>, is a rich entry to the modern spiritual jazz canon, and Grammy-nominated Smith is a dazzling player in a live setting.\u003c/p>\n\u003cfigure id=\"attachment_13918589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\" alt=\"a black and white photo of a man sitting at a piano\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lubomyr Melnyk at the Aarhus Festival in Denmark, 2018. Melnyk performs at The Lab in San Francisco Sept. 23. \u003ccite>(Hreinn Gudlaugsson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thelab.org/projects/2022/9/23/lubomyr-melnyk\">Lubomyr Melnyk\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23\u003cbr>\nThe Lab, San Francisco\u003c/em>\u003c/p>\n\u003cp>Ukrainian composer Lubomyr Melnyk is getting a little more notice this year, and it’s overdue: his prolific output of experimental minimalism stretches back to the 1970s. Unlike other minimalists like Philip Glass or Steve Reich, Malnyk veers into the eerie, the noisy, the tense. What’s probably now his best-known work, “\u003ca href=\"https://www.youtube.com/watch?v=1z5gu2hhpAk\" rel=\"noopener noreferrer\" target=\"_blank\">Pockets of Light\u003c/a>,” features the vocals of multi-instrumentalist Peter Broderick, and he’s even performed \u003ca href=\"https://www.youtube.com/watch?v=SWc1MZoQvqQ\" rel=\"noopener noreferrer\" target=\"_blank\">a set for Boiler Room\u003c/a>, the well-known DJ series. In the intimate upstairs confines of The Lab, a treasured arts space in the Mission District, his trance-like music should be especially resonant.\u003c/p>\n\u003cfigure id=\"attachment_13918638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg\" alt=\"a Black man sings, wearing a white suit and bowtie\" width=\"800\" height=\"626\" class=\"size-medium wp-image-13918638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter at the Kongsberg Jazzfestival in Norway in 2018. Porter performs at this year’s Monterey Jazz Festival. \u003ccite>(Tore Sætre / Wikimedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23–Sept. 25\u003c/em>\u003cbr>\n\u003cem>Monterey County Fairgrounds\u003c/em>\u003c/p>\n\u003cp>The Monterey Jazz Festival is technically outside of the Bay Area, but it’s a bona fide institution. In its 65th year this September, the festival is still in semi-scaled-back mode, with fewer stages and performers. But the heavy hitters are still on the bill: Ravi Coltrane, Gregory Porter, Chucho Valdés, Joshua Redman’s classic \u003cem>Moodswings\u003c/em> quartet, Gerald Clayton, Julian Lage and many others. Always worth the drive, the festival’s setting is serene and the music top-notch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13849055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony in 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Salonen-Conducts-Mahler-2\">Salonen Conducts Mahler\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 29–Oct. 2\u003cbr>\nDavies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Those who know the San Francisco Symphony might be looking at this program and thinking, “Hey, who does the new guy think he is, anyway?” That’s because Music Director Emeritus Michael Tilson Thomas all but synonymized himself with Mahler in his 25 years with the symphony, performing and recording \u003ca href=\"https://michaeltilsonthomas.com/2004/10/05/the-mahler-project-complete-cd-box-set/\" rel=\"noopener noreferrer\" target=\"_blank\">an award-winning cycle of Mahler’s symphonies\u003c/a>. But here in San Francisco, Esa-Pekka Salonen has been pulling off a remarkable Joe Montana-to-Steve Young-esque transition. With Salonen frequently equalling (and, in his willingness to take risks, outpacing) his predecessor, it’s thrilling to imagine what he’ll do with Mahler’s second.\u003c/p>\n\u003cfigure id=\"attachment_13918647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Awadin-800x500.jpg\" alt=\"A Black man leans against a grand piano\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13918647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awadagin Pratt plays Mozart with the Santa Rosa Symphony this October. \u003ccite>(Cramer/Marder Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/232\">Awadagin Pratt with the Santa Rosa Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>Since his appointment in 2018, Santa Rosa Symphony Music Director \u003ca href=\"https://www.pressdemocrat.com/article/lifestyle/get-to-know-francesco-lecce-chong-music-director-of-the-santa-rosa-symphon/\" rel=\"noopener noreferrer\" target=\"_blank\">Francesco Lecce-Chong\u003c/a> has been an absolute delight on the podium: he explains pieces, he makes jokes; he even once hired an actor to dress up in disguise and wander through the audience. (Long story.) Energetic, affable and serious about using his talent for good, he’s also pushing classical music in all the right directions. This season’s kickoff is a good example, by performing new work (\u003cem>Me he perdido\u003c/em>, by Angélica Negrón) as well as inviting a Black pianist as the program’s guest soloist (Awadagin Pratt, playing Mozart’s Piano Concerto No. 23). In the exquisite main hall of the Green Music Center, this is a program not to miss.\u003c/p>\n\u003cfigure id=\"attachment_11565818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Music Day takes place inside the War Memorial Veterans Building, across from City Hall.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://intermusicsf.org/sf-music-day/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Music Day\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 9\u003cbr>\nWar Memorial Veterans Building, San Francisco\u003c/em>\u003c/p>\n\u003cp>You simply cannot go wrong with a day of free music experienced by wandering around a historic building. That’s what SF Music Day offers the Bay Area each year at the Herbst Theatre and various surrounding spaces inside the War Memorial Veterans Building, across from City Hall. From noon to 7pm, visitors can drop in on classical, jazz, blues, Greek, chamber music, brass music and experimental sets from 27 different groups. It’s perfect for bringing kids or visitors from out of town.\u003c/p>\n\u003cfigure id=\"attachment_13918645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg\" alt=\"A CHinese woman in a red dress, backlit through a window\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ying Fang performs in recital on Nov. 6 in Berkeley. \u003ccite>(Dario Acosta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2022-23/recital/ying-fang-soprano-ken-noda-piano/\" rel=\"noopener noreferrer\" target=\"_blank\">Ying Fang\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 6\u003cbr>\nHertz Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The Chinese-born soprano Ying Fang has had a busy past few years, having appeared on stage as Susanna in \u003cem>The Marriage of Figaro\u003c/em>, Pamina in \u003cem>The Magic Flute\u003c/em>, and Ännchen in \u003cem>Der Freischütz\u003c/em>. Add to that her appearances in Mahler’s symphonies No. 2 and 8 at the Mahler Festival in Leipzig, and it’s clear that a rising star is on her way to Berkeley. At Hertz Hall, her much-anticipated recital includes songs by Mahler, Richard Strauss, Schubert, Schumann and others, with piano accompaniment by Ken Noda.\u003c/p>\n\u003cfigure id=\"attachment_13918621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7-800x533.jpg\" alt=\"a Black man in a suit jacket plays the trumpet in a dimly lit club\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keyon Harrold performs Nov. 18 at the Black Cat in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.com/event/keyon-harrold-2022-11-18/\">Keyon Harrold\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 17–19\u003cbr>\nBlack Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Born and raised in Ferguson, Missouri, Keyon Harrold is no stranger to jazz’s long tradition of incorporating themes of Black equality and racial justice into his music. He’s also no stranger to sharing the stage with stars like Beyoncé, Rihanna and Jay-Z, or hearing his music used in movies like the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>. Last seen around these parts \u003ca href=\"https://www.youtube.com/watch?v=MIlBU0FtKr8\" rel=\"noopener noreferrer\" target=\"_blank\">playing with the rapper Pharoahe Monch\u003c/a> at the Blue Note Jazz Festival in Napa, the trumpeter returns for a small-club basement gig at the uber-hip Tenderloin outpost the Black Cat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Correction: A previous version of this article stated that Santa Rosa Symphony Music Director Francesco Lecce-Chong had once dressed in disguise and roamed through the audience. The man was an actor that Lecce-Chong had hired, not Lecce-Chong himself. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Legendary saxophonists, thrilling new works, classic festivals and a world premiere at SF Opera—there's a full slate of options this fall.",
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"title": "Your Best Bets for Jazz and Classical in the Bay Area This Fall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.kqed.org/fallarts2022\">\u003cem>Find more of KQED’s picks for the best Fall 2022 events here.\u003c/em>\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>The leaves turn, the days shorten and, each fall, performing arts groups ready their new seasons. While my colleague Nastia Voynovskaya brings you \u003ca href=\"https://www.kqed.org/arts/13917837/fall-arts-2022-concerts-clubs\" rel=\"noopener noreferrer\" target=\"_blank\">the top concerts, festivals and nightclub dates this fall\u003c/a>, here are KQED’s picks for the grown-and-seasoned lovers of jazz and classical. \u003c/p>\n\u003cfigure id=\"attachment_13918615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg\" alt=\"a woman in an orange dress and a man in a green robe embrace against a black backdrop on stage\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/antonycleopatra.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Amina Edris as Cleopatra and Gerald Finley as Antony in a rehearsal still from SF Opera’s ‘Antony and Cleopatra.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.sfopera.com/operas/antony-and-cleopatra/\">Antony and Cleopatra\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>Sept. 10–Oct. 5\u003cbr>\nWar Memorial Opera House, San Francisco\u003c/em>\u003c/p>\n\u003cp>The last time John Adams premiered an opera at the War Memorial Opera House, he dug back into California history for \u003cem>Girls of the Golden West\u003c/em>, a gold-rush story that KQED Arts & Culture’s Nastia Voynovskaya called “\u003ca href=\"https://www.kqed.org/arts/13815647/girls-of-the-golden-west-is-nothing-like-your-high-school-history-book\" rel=\"noopener noreferrer\" target=\"_blank\">a timely dialogue about our state history that helps us better understand the present\u003c/a>.” This time around, Adams travels back even further, to one of the world’s most famous love stories, as composer and librettist. Any new work by Adams is cause for celebration, and under the direction of Elkhanah Pulitzer, \u003cem>Antony and Cleopatra\u003c/em> stars Gerald Finley and Amina Edris in the title roles.\u003c/p>\n\u003cfigure id=\"attachment_13918636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg\" alt=\"a Black man in a Converse All-Stars t-shirt stands on front of a drum set\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/billy-cobham-copy.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Cobham celebrates his second album, Crosswinds, at Yoshi’s in September. \u003ccite>(Yoshi's)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://yoshis.com/events/buy-tickets/billy-cobham-1/detail\" rel=\"noopener noreferrer\" target=\"_blank\">Billy Cobham’s Crosswinds Project\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 20–21\u003cbr>\nYoshi’s, Oakland\u003c/em>\u003c/p>\n\u003cp>The venerable Oakland jazz club Yoshi’s has a sampladelic fall coming up. Bob James, who has been sampled so many times in hip-hop songs that he’s devoted \u003ca href=\"https://www.youtube.com/watch?v=1NI5Nl4XvXM\" rel=\"noopener noreferrer\" target=\"_blank\">a whole YouTube reaction series\u003c/a> to them, hits the Yoshi’s stage Oct. 23. But drummers will rejoice at the booking of Billy Cobham, who plays Yoshi’s Sept. 20–21. Of course, here in the Bay Area, we know Cobham’s “\u003ca href=\"https://youtu.be/e3E9vx5vVck?t=258\" rel=\"noopener noreferrer\" target=\"_blank\">Heather\u003c/a>” as the sample source for one of our bona fide anthems: “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" rel=\"noopener noreferrer\" target=\"_blank\">93 Til Infinity\u003c/a>.” It’s serendipity, then, that he brings to Oakland his Crossroads Project, a group formed to celebrate \u003cem>Crossroads\u003c/em>, the album containing “Heather”—and the inadvertent seed of a Bay Area hip-hop hit.\u003c/p>\n\u003cfigure id=\"attachment_13918637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg\" alt=\"a man at the drums and a man playing saxophone, in diptych\" width=\"800\" height=\"338\" class=\"size-medium wp-image-13918637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-800x338.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero-1536x648.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/s10_web_natesmithkinfolkimmanuelwilkins_hero.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Smith (left) and Immanuel Wilkins (right) come to SFJAZZ as part of the ‘Traditions in Transition’ series. \u003ccite>(SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfjazz.org/tickets/productions/nate-smith-immanuel-wilkins/\">Nate Smith + Kinfolk / Immanuel Wilkins Quartet\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 22\u003cbr>\nSFJAZZ Miner Auditorium, San Francisco\u003c/em>\u003c/p>\n\u003cp>With SFJAZZ’s upcoming ‘\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2022&event-type=3&series=50850\" rel=\"noopener noreferrer\" target=\"_blank\">Traditions in Transition\u003c/a>’ series, no jazz fan should miss out on the chance to see Joshua Redman, Christian McBride, Brad Mehldau and Brian Blade (Sept. 23), Julian Lage (Sept. 24) or Orquesta Akokan (Sept. 25). But I’m gonna give it up for the new breed here with drummer Nate Smith and alto saxophonist Immanuel Wilkins. Wilkins’ latest album for Blue Note, \u003cem>The 7th Hand\u003c/em>, is a rich entry to the modern spiritual jazz canon, and Grammy-nominated Smith is a dazzling player in a live setting.\u003c/p>\n\u003cfigure id=\"attachment_13918589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13918589\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg\" alt=\"a black and white photo of a man sitting at a piano\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Lubomyr-melnyk_DSC08011-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lubomyr Melnyk at the Aarhus Festival in Denmark, 2018. Melnyk performs at The Lab in San Francisco Sept. 23. \u003ccite>(Hreinn Gudlaugsson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.thelab.org/projects/2022/9/23/lubomyr-melnyk\">Lubomyr Melnyk\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23\u003cbr>\nThe Lab, San Francisco\u003c/em>\u003c/p>\n\u003cp>Ukrainian composer Lubomyr Melnyk is getting a little more notice this year, and it’s overdue: his prolific output of experimental minimalism stretches back to the 1970s. Unlike other minimalists like Philip Glass or Steve Reich, Malnyk veers into the eerie, the noisy, the tense. What’s probably now his best-known work, “\u003ca href=\"https://www.youtube.com/watch?v=1z5gu2hhpAk\" rel=\"noopener noreferrer\" target=\"_blank\">Pockets of Light\u003c/a>,” features the vocals of multi-instrumentalist Peter Broderick, and he’s even performed \u003ca href=\"https://www.youtube.com/watch?v=SWc1MZoQvqQ\" rel=\"noopener noreferrer\" target=\"_blank\">a set for Boiler Room\u003c/a>, the well-known DJ series. In the intimate upstairs confines of The Lab, a treasured arts space in the Mission District, his trance-like music should be especially resonant.\u003c/p>\n\u003cfigure id=\"attachment_13918638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg\" alt=\"a Black man sings, wearing a white suit and bowtie\" width=\"800\" height=\"626\" class=\"size-medium wp-image-13918638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-800x626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917-768x601.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Gregory_Porter_Kongsberg_Jazzfestival_2018_191917.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gregory Porter at the Kongsberg Jazzfestival in Norway in 2018. Porter performs at this year’s Monterey Jazz Festival. \u003ccite>(Tore Sætre / Wikimedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 23–Sept. 25\u003c/em>\u003cbr>\n\u003cem>Monterey County Fairgrounds\u003c/em>\u003c/p>\n\u003cp>The Monterey Jazz Festival is technically outside of the Bay Area, but it’s a bona fide institution. In its 65th year this September, the festival is still in semi-scaled-back mode, with fewer stages and performers. But the heavy hitters are still on the bill: Ravi Coltrane, Gregory Porter, Chucho Valdés, Joshua Redman’s classic \u003cem>Moodswings\u003c/em> quartet, Gerald Clayton, Julian Lage and many others. Always worth the drive, the festival’s setting is serene and the music top-notch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13849055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849055\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg\" alt=\"Esa-Pekka Salonen conducts the San Francisco Symphony on Jan. 18.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/EsaPekkaSalonenSymphonyDebu.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Esa-Pekka Salonen conducts the San Francisco Symphony in 2019. \u003ccite>(Brandon Patoc/San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2022-23/Salonen-Conducts-Mahler-2\">Salonen Conducts Mahler\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Sept. 29–Oct. 2\u003cbr>\nDavies Symphony Hall, San Francisco\u003c/em>\u003c/p>\n\u003cp>Those who know the San Francisco Symphony might be looking at this program and thinking, “Hey, who does the new guy think he is, anyway?” That’s because Music Director Emeritus Michael Tilson Thomas all but synonymized himself with Mahler in his 25 years with the symphony, performing and recording \u003ca href=\"https://michaeltilsonthomas.com/2004/10/05/the-mahler-project-complete-cd-box-set/\" rel=\"noopener noreferrer\" target=\"_blank\">an award-winning cycle of Mahler’s symphonies\u003c/a>. But here in San Francisco, Esa-Pekka Salonen has been pulling off a remarkable Joe Montana-to-Steve Young-esque transition. With Salonen frequently equalling (and, in his willingness to take risks, outpacing) his predecessor, it’s thrilling to imagine what he’ll do with Mahler’s second.\u003c/p>\n\u003cfigure id=\"attachment_13918647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Awadin-800x500.jpg\" alt=\"A Black man leans against a grand piano\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13918647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Awadin.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awadagin Pratt plays Mozart with the Santa Rosa Symphony this October. \u003ccite>(Cramer/Marder Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.srsymphony.org/EventDetail/232\">Awadagin Pratt with the Santa Rosa Symphony\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003cbr>\nGreen Music Center, Rohnert Park\u003c/em>\u003c/p>\n\u003cp>Since his appointment in 2018, Santa Rosa Symphony Music Director \u003ca href=\"https://www.pressdemocrat.com/article/lifestyle/get-to-know-francesco-lecce-chong-music-director-of-the-santa-rosa-symphon/\" rel=\"noopener noreferrer\" target=\"_blank\">Francesco Lecce-Chong\u003c/a> has been an absolute delight on the podium: he explains pieces, he makes jokes; he even once hired an actor to dress up in disguise and wander through the audience. (Long story.) Energetic, affable and serious about using his talent for good, he’s also pushing classical music in all the right directions. This season’s kickoff is a good example, by performing new work (\u003cem>Me he perdido\u003c/em>, by Angélica Negrón) as well as inviting a Black pianist as the program’s guest soloist (Awadagin Pratt, playing Mozart’s Piano Concerto No. 23). In the exquisite main hall of the Green Music Center, this is a program not to miss.\u003c/p>\n\u003cfigure id=\"attachment_11565818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11565818\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Herbst-Theatre-Exterior_sm-e1462839627428-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF Music Day takes place inside the War Memorial Veterans Building, across from City Hall.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://intermusicsf.org/sf-music-day/\" rel=\"noopener noreferrer\" target=\"_blank\">SF Music Day\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Oct. 9\u003cbr>\nWar Memorial Veterans Building, San Francisco\u003c/em>\u003c/p>\n\u003cp>You simply cannot go wrong with a day of free music experienced by wandering around a historic building. That’s what SF Music Day offers the Bay Area each year at the Herbst Theatre and various surrounding spaces inside the War Memorial Veterans Building, across from City Hall. From noon to 7pm, visitors can drop in on classical, jazz, blues, Greek, chamber music, brass music and experimental sets from 27 different groups. It’s perfect for bringing kids or visitors from out of town.\u003c/p>\n\u003cfigure id=\"attachment_13918645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg\" alt=\"A CHinese woman in a red dress, backlit through a window\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13918645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/YING_FANG.cred-Dario-Acosta.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ying Fang performs in recital on Nov. 6 in Berkeley. \u003ccite>(Dario Acosta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://calperformances.org/events/2022-23/recital/ying-fang-soprano-ken-noda-piano/\" rel=\"noopener noreferrer\" target=\"_blank\">Ying Fang\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 6\u003cbr>\nHertz Hall, Berkeley\u003c/em>\u003c/p>\n\u003cp>The Chinese-born soprano Ying Fang has had a busy past few years, having appeared on stage as Susanna in \u003cem>The Marriage of Figaro\u003c/em>, Pamina in \u003cem>The Magic Flute\u003c/em>, and Ännchen in \u003cem>Der Freischütz\u003c/em>. Add to that her appearances in Mahler’s symphonies No. 2 and 8 at the Mahler Festival in Leipzig, and it’s clear that a rising star is on her way to Berkeley. At Hertz Hall, her much-anticipated recital includes songs by Mahler, Richard Strauss, Schubert, Schumann and others, with piano accompaniment by Ken Noda.\u003c/p>\n\u003cfigure id=\"attachment_13918621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918621\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyon7-800x533.jpg\" alt=\"a Black man in a suit jacket plays the trumpet in a dimly lit club\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyon7.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keyon Harrold performs Nov. 18 at the Black Cat in San Francisco. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://blackcatsf.com/event/keyon-harrold-2022-11-18/\">Keyon Harrold\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Nov. 17–19\u003cbr>\nBlack Cat, San Francisco\u003c/em>\u003c/p>\n\u003cp>Born and raised in Ferguson, Missouri, Keyon Harrold is no stranger to jazz’s long tradition of incorporating themes of Black equality and racial justice into his music. He’s also no stranger to sharing the stage with stars like Beyoncé, Rihanna and Jay-Z, or hearing his music used in movies like the Miles Davis biopic \u003cem>Miles Ahead\u003c/em>. Last seen around these parts \u003ca href=\"https://www.youtube.com/watch?v=MIlBU0FtKr8\" rel=\"noopener noreferrer\" target=\"_blank\">playing with the rapper Pharoahe Monch\u003c/a> at the Blue Note Jazz Festival in Napa, the trumpeter returns for a small-club basement gig at the uber-hip Tenderloin outpost the Black Cat.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Correction: A previous version of this article stated that Santa Rosa Symphony Music Director Francesco Lecce-Chong had once dressed in disguise and roamed through the audience. The man was an actor that Lecce-Chong had hired, not Lecce-Chong himself. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "fall-guide-free-events-bay-area-2022",
"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area",
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"headTitle": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n",
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"excerpt": "Who needs free movies, art, dance, live music, parties and theater? All of us, that's who.",
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"title": "Fun on a Budget: 8 Free Fall Events in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/fallarts2022\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>Find more of KQED’s picks for the best Fall 2022 events here\u003c/strong>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Gas prices. Sky-high inflation. The Millennial inability to stop buying lattes and avocado toast. (\u003cem>I kid!\u003c/em>)\u003c/p>\n\u003cp>The year 2022 has been rough on wallets across the country, and our wallets also happen to be sitting (half-empty) in one of its most expensive regions. (San Francisco, Oakland and San Jose all made the list of top-10 most expensive American cities.)\u003c/p>\n\u003cp>What does that mean? It means we all need as much free stuff as possible. And luckily for us, there are a lot of great events coming up that won’t cost you a dime to attend. Movies, art, dance, live music, parties, theater—we’ve got you covered. Bay Area rents may break the bank, but there’s a wealth of fun things to do that won’t.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13917591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png\" alt=\"A Black dancer in open black shirt and tight black shorts, lays on a wooden platform, arms outstretched dramatically, with one leg kicked upwards and pointed out. Crowds watch on from the sidelines.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-12.31.28-PM.png 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A performer strikes a pose at 2021’s Open To All Ball at Lake Merritt Amphitheater. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/events/1198327271019474/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Hyphy Ball\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003cbr>\n\u003cem>Sept. 10, 1pm–7pm\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The follow-up to 2021’s dazzling \u003ca href=\"https://www.kqed.org/arts/13902915/photos-lgbtq-oakland-shows-out-at-the-open-to-all-vogue-ball\" target=\"_blank\" rel=\"noopener noreferrer\">Open to All Ball\u003c/a> is set to transform the shores of Lake Merritt once more into ballroom bliss. This year’s ball carries the same ethos as the last one: everyone—and they do mean absolutely everyone—is welcome. The 2022 theme, however, is brand new, and hella Oakland: hyphy. That will influence every category in this year’s contests, from performance soundtracks to the all-important runway fashions.\u003c/p>\n\u003cp>As usual, there are big prizes to be won, including $1,000 cash awards for categories including Realness, Face and Runway, and a $4,000 prize for the Tag Team performance. This year’s grand finale promises to be next-level thanks to the caveat that teams must include at least one hyphy move in their presentation. So … serve and turf?\u003c/p>\n\u003cfigure id=\"attachment_13917640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-2.29.48-PM-1-800x517.png\" alt=\"A Black woman in black and white striped dress, sits on a stool with her feet up, laughing as she holds an acoustic guitar on her lap.\" width=\"800\" height=\"517\">\u003cfigcaption class=\"wp-caption-text\">Meklit, an Ethiopia-born, Bay Area-dwelling singer, blends African and American blues, jazz and folk sounds with a constantly surprising level of grace and magnetism. And she’s on the Hardly Strictly lineup this year. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Golden Gate Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 30-Oct. 2\u003c/em>\u003c/p>\n\u003cp>After a two-year absence from Golden Gate Park, Hardly Strictly is set for a triumphant return this October with a lineup that offers something for nearly every mood and taste.\u003c/p>\n\u003cp>Festival veterans like Emmylou Harris (in her 22nd HSB appearance!) and Buddy Miller (in his 17th!) will be present, accounted for and offering warm fuzzy feelings to fend off the fog. Marcus Mumford and Talking Heads’ Jerry Harrison and Adrian Belew check the mainstream-appeal boxes. And local flavor comes in the form of Tré Burt (Sacramento), Meklit (San Francisco), Brothers Comatose (North Bay) and A.J. Lee and Blue Summit (South Bay).\u003c/p>\n\u003cp>But as usual, HSB will also be serving up fantastic artists from around the country. So far, this year’s must-not-miss list includes: the heart-wrenching but always uplifting Allison Russell, the retro-soul stylings of Lucius and the bluegrass-rooted Afrofuturism of Jake Blount. In a lineup that has long been proud to stray beyond the confines of traditional bluegrass, Blount is a one-man example of why it’s so exciting to do just that.\u003c/p>\n\u003cfigure id=\"attachment_13917608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.08.11-PM-800x542.png\" alt=\"A father and son walk hand-in-hand towards a group of parents and children playing with bubbles. Behind them, various stalls can be seen lining the street.\" width=\"800\" height=\"542\">\u003cfigcaption class=\"wp-caption-text\">Noise Pop’s 20th Street Block Party will take place on Valencia St. this year. \u003ccite>(Instagram/ @noisepop)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop’s 20th Street Block Party\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Valencia Street between 18th and 21st Streets, San Francisco\u003c/em>\u003cbr>\n\u003cem>Oct. 15, 12pm-6pm\u003c/em>\u003c/p>\n\u003cp>This family-friendly free-for-all will take over three whole blocks of Valencia Street to bring live music, food, local arts and crafts, and a whole lot of fun, to the Mission. The location may be slightly different in 2022, but the vibe will remain the same as the prior eight years: a love letter to the diversity and creativity of the Mission District.\u003c/p>\n\u003cp>Proceeds collected at this year’s community gathering will assist two great nonprofits in continuing their work in the neighborhood. \u003ca href=\"https://826valencia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">826 Valencia\u003c/a> (a.k.a. the Pirate Supply Store) will use all donations to further their mission of making sure under-resourced kids get a tutoring boost so they can become great writers. And \u003ca href=\"https://lacocinasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">La Cocina\u003c/a> will keep working toward equity in business ownership, providing mentorship and affordable kitchen space to female and BIPOC entrepreneurs.\u003c/p>\n\u003cfigure id=\"attachment_13917609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-12-at-3.37.26-PM-800x486.png\" alt=\"Three South Asian women sitting in a row laughing.\" width=\"800\" height=\"486\">\u003cfigcaption class=\"wp-caption-text\">Attendees taking in a show at Cupertino’s Diwali: Festival of Lights. \u003ccite>(Cupertino Chamber of Commerce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.facebook.com/bayareadiwalifestival\" target=\"_blank\" rel=\"noopener noreferrer\">Diwali Festival of Lights\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Memorial Park, Cupertino\u003c/em>\u003cbr>\n\u003cem>Oct. 8, 11am-6pm\u003c/em>\u003c/p>\n\u003cp>Sure, this festival is happening a full 15 days before Diwali’s five-day celebration even starts, but it’s never too soon to get excited about light triumphing over darkness.\u003c/p>\n\u003cp>Beyond honoring the holiday itself, Cupertino’s Festival of Lights is a celebration of all things Desi. The plethora of colorful dance displays—a journey through classical \u003ca href=\"https://en.wikipedia.org/wiki/Bharatanatyam\" target=\"_blank\" rel=\"noopener noreferrer\">Bharatanatyam\u003c/a> to modern \u003ca href=\"https://en.wikipedia.org/wiki/Bhangra_(dance)#Bhangra_today\" target=\"_blank\" rel=\"noopener noreferrer\">Bhangra\u003c/a>—are worth the journey alone. But the spicy and aromatic street food on hand also satisfies rumbling stomachs, the stalls have plenty to keep dedicated shoppers busy and the \u003ca href=\"https://en.wikipedia.org/wiki/Rangoli\" target=\"_blank\" rel=\"noopener noreferrer\">Rangoli\u003c/a> art displays are just mesmerizing. Plus, there’s even a Kids Zone that usually includes some pretty ridiculous physical challenges. (If you’ve ever wanted to stick your child in a giant hamster ball, this is the place to do it.)\u003c/p>\n\u003cp>To cap it all, there’s even free parking. Just head to De Anza College’s A and B lots.\u003c/p>\n\u003cfigure id=\"attachment_13917731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.07.55-PM-800x601.png\" alt=\"A grid of 12 squares showing different styles of paintings and crafts.\" width=\"800\" height=\"601\">\u003cfigcaption class=\"wp-caption-text\">A tiny portion of the artists showing at San Francisco Open Studios. \u003ccite>(Courtesy of SFOS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.artspan.org/sfos-schedule\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> / \u003ca href=\"https://eastbayopenstudios.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Open Studios\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Locations TBD. (Check \u003ca href=\"https://www.artspan.org/visit-sf-open-studios/navigating-sfos\" target=\"_blank\" rel=\"noopener noreferrer\">SFOS\u003c/a> and \u003ca href=\"https://eastbayopenstudios.com/2022-event-schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">EBOS\u003c/a> websites for directories.)\u003c/em>\u003cbr>\n\u003cem>San Francisco: Oct. 23-Nov. 13\u003cbr>\nEast Bay: Nov. 5-13\u003c/em>\u003c/p>\n\u003cp>Whether you approach them as casual neighborhood strolls or regimented exercises complete with maps and schedules, the Open Studios events on both sides of the Bay are worthy of your attention. Taking place across four weekends in San Francisco and two in the East Bay, Open Studios is a chance to get to know the artists in your area, support them and see some truly great work. (There’s usually a surprising amount of free cookies involved too…)\u003c/p>\n\u003cp>Wandering between home studios, artist collective spaces, back yards and garages doesn’t just feel like a treasure hunt—it also offers a glimpse into how Bay Area artists live and survive. It’s inspiring to witness not just the eclectic array of talent on display, but the resourcefulness of many of our local creators. And if you can’t make it out to meet them in person, the SFOS website offers \u003ca href=\"https://www.artspan.org/vast\" target=\"_blank\" rel=\"noopener noreferrer\">virtual tours of selected artists’ studios\u003c/a>.\u003c/p>\n\u003cp>While the Open Studios events themselves are free, don’t expect to come home empty-handed.\u003c/p>\n\u003cfigure id=\"attachment_13917656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917656\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png\" alt=\"A woman in her twenties with black hair, wearing midriff-baring punky clothes, throws her arms above her head and sticks her tongue out in a rebellious gesture.\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-800x557.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1020x710.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-15-at-7.58.18-PM.png 1700w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Livia Gomes Demarchi as Beatrice in San Francisco Shakespeare Festival’s 40th Anniversary production of ‘Much Ado About Nothing.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sfshakes.org/?fbclid=IwAR3OD5c8Cx3CbwJ02gSUOBcfQYf8GDYCLFp5fKvmK-wulGkee84ucXcZF_c\" target=\"_blank\" rel=\"noopener noreferrer\">Shakespeare in the Park\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Jerry Garcia Amphitheater, MacLaren Park, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 3-11, 2pm\u003c/em>\u003c/p>\n\u003cp>\u003cem>Much Ado About Nothing\u003c/em> can be quite the challenging prospect for modern audiences—particularly the women watching. After all, it’s difficult to glean much enjoyment from watching female characters getting treated terribly by the men in their midst for 160 minutes, only to have everything wrapped up in a neat little bow in the end.\u003c/p>\n\u003cp>This year’s production by the San Francisco Shakespeare Festival however, promises to be a more palatable take on a dated classic. With a distinctly ’90s aesthetic, a run time of just 90 minutes (no intermission) and modernized versions of familiar characters, this \u003cem>Much Ado\u003c/em> promises something a little different from more traditional productions. Think: Beatrice in lip-liner and a dog collar, a grunge rendition of “Sigh No More” and Benedick out participating in protest marches. No, really.\u003c/p>\n\u003cp>If you missed this \u003cem>Much Ado About Nothing\u003c/em> in Cupertino and Redwood City and can’t make it to McLaren Park either, don’t worry. A version of the production will be made \u003ca href=\"https://www.youtube.com/watch?v=cB1obsLLZe8\" target=\"_blank\" rel=\"noopener noreferrer\">available online\u003c/a> at a later date, complete with closed captions.\u003c/p>\n\u003cfigure id=\"attachment_13917732\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png\" alt=\"Dancers - three female, one male - wearing traditional Mexican clothes smile as they perform on a small stage.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-2.12.16-PM.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers performing the Jarabe Tapatío at the Solano Avenue Stroll. \u003ccite>(Courtesy of Solano Avenue Stroll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.solanoavenueassn.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Avenue Stroll\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Solano Avenue, Albany and Berkeley\u003c/em>\u003cbr>\n\u003cem>Sept. 11, 10am-5pm\u003c/em>\u003c/p>\n\u003cp>Finally! The Stroll is back after a two-year absence, and it promises to be just as huge as it always was. It will still occupy an entire, fully pedestrianized mile of Solano Avenue in a colorful celebration of both Albany and Berkeley that starts with an opening ceremony and mini-parade. The day-long celebration fills the street with music, dancing and scores of local businesses, artists and makers selling their wares—including, of course, enough food booths to feed the thousands of people who usually attend.\u003c/p>\n\u003cp>Because of its scale, the Solano Avenue Stroll can be a little overwhelming at peak times, but it’s worth getting there early so you can take your time with it all. A free shuttle from North Berkeley BART will get you there without parking hassles.\u003c/p>\n\u003cfigure id=\"attachment_13917733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png\" alt=\"Many people gather on the slanted lawn in front of a large screen surrounded on all sides with trees.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM-1536x984.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-16-at-4.53.09-PM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sundown Cinema at Jerry Garcia Amphitheater at McLaren Park. \u003ccite>(Instagram/ @dothebay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://secure.sfparksalliance.org/event/sundown-cinema-member-seating-sister-act-2/e405348\" target=\"_blank\" rel=\"noopener noreferrer\">Sundown Cinema\u003c/a>\u003c/h2>\n\u003cp>\u003cem>Alamo Square, Crane Cove, Jerry Garcia Amphitheater, San Francisco\u003c/em>\u003cbr>\n\u003cem>Sept. 9-Oct.21, 5pm\u003c/em>\u003c/p>\n\u003cp>The Bay Area is awash with unique little movie theaters; we are truly blessed in this regard. But for a few weeks every fall, big screens pop up around San Francisco that give even our cutest theaters a run for their money. (If you’ve ever watched a movie in Alamo Square Park with the sun setting behind the Painted Ladies, you already know what’s up.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This rest of this season’s Sundown Cinema will feature \u003cem>Raiders of the Lost Ark\u003c/em> at Alamo Square (Sept. 9), \u003cem>Shang Chi & The Legend of the Ten Rings\u003c/em> at Crane Cove (Sept. 30) and \u003cem>Addams Family Values\u003c/em> at the Jerry Garcia Amphitheater (Oct. 21). Perfect for family picnics, date night and people who love wearing their Patagonias to chilly park excursions.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish",
"headTitle": "Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish | KQED",
"content": "\u003cp>The video for Jada Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s “\u003ca href=\"https://www.youtube.com/watch?v=EUXGDLZ5hF4\" target=\"_blank\" rel=\"noopener noreferrer\">Rosa Parks\u003c/a>” features black-and-white footage of civil rights-era marches spliced with modern-day shots of Imani sitting at a bus stop in West Oakland. At times she\u003cspan style=\"font-weight: 400\">’\u003c/span>s joyously dancing. In another instance Imani stares deadpan into the camera, a look that conveys more emotion than words.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rosa Parks Official Music Video\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/EUXGDLZ5hF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s very confrontational,” \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> tells me, noting the intended target of the glare are the folks who uphold the construct of white supremacy. Imani, who is originally from East St. Louis and raised in Oakland, says, “Black folks have been leading cultural and systemic revolutions for so long, and we’re still here and there’s still something to say. We’re not done.”\u003c/span>\u003c/p>\n\u003cp>The video, directed by \u003ca href=\"https://www.instagram.com/zoemountain/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoe Mountain\u003c/a> and shot by \u003ca href=\"https://www.instagram.com/doreanraye/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorean Raye,\u003c/a> combines the piercing gaze with Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s dancing jubilation, as well as archival footage of Black women smiling and putting their feet in the pool on the Washington Mall. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s a complementary aesthetic for a track that has a classy, swing-jazz vibe with a modern, glossy R&B finish.\u003c/p>\n\u003cp>The song, which originally started off as a freestyle, features the guitar of \u003ca href=\"https://www.instagram.com/themisajames/\" target=\"_blank\" rel=\"noopener noreferrer\">Misa James \u003c/a>and was produced by \u003ca href=\"https://www.instagram.com/willrandolphv/\" target=\"_blank\" rel=\"noopener noreferrer\">Will Randolph V\u003c/a>. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s featured on Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s latest EP\u003cem> \u003ca href=\"https://open.spotify.com/album/5cBKigC7xi5eqW8ME6ChFK\" target=\"_blank\" rel=\"noopener noreferrer\">JUBILEE II\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The entire project is both celebration and a call to action. This song in particular honors Rosa Parks by name, but Jada Imani says it\u003cspan style=\"font-weight: 400\">’\u003c/span>s an homage to numerous freedom fighters who came before us, including \u003ca href=\"https://www.npr.org/2009/03/15/101719889/before-rosa-parks-there-was-claudette-colvin\" target=\"_blank\" rel=\"noopener noreferrer\">Claudette Colvin\u003c/a>. [aside postid='arts_13917938']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s really implant that we know about her because she sacrificed the same way Rosa Parks did, and a lot of people just don’t know her name,” says Imani, who made it a point to highlight Colvin’s story in \u003ca href=\"https://www.instagram.com/reel/ChSjWoPJsRp/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">a recent Instagram post\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On September 15, ten days after Colvin\u003cspan style=\"font-weight: 400\">’\u003c/span>s birthday and ten days before her own, Imani will bring her solemn stare, her joyful dancing and her catchy tunes into KQED\u003cspan style=\"font-weight: 400\">’\u003c/span>s headquarters for a performance alongside \u003ca href=\"https://www.instagram.com/salamirosejoelouis/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s \u003ca href=\"https://smartbomboakland.bandcamp.com/music\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB \u003c/a>comrade \u003ca href=\"https://www.instagram.com/spotebreeze/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Spote Breeze\u003c/a>. \u003ca href=\"https://www.kqed.org/event/2387\" target=\"_blank\" rel=\"noopener noreferrer\">More info here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The video for Jada Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s “\u003ca href=\"https://www.youtube.com/watch?v=EUXGDLZ5hF4\" target=\"_blank\" rel=\"noopener noreferrer\">Rosa Parks\u003c/a>” features black-and-white footage of civil rights-era marches spliced with modern-day shots of Imani sitting at a bus stop in West Oakland. At times she\u003cspan style=\"font-weight: 400\">’\u003c/span>s joyously dancing. In another instance Imani stares deadpan into the camera, a look that conveys more emotion than words.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rosa Parks Official Music Video\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/EUXGDLZ5hF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s very confrontational,” \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> tells me, noting the intended target of the glare are the folks who uphold the construct of white supremacy. Imani, who is originally from East St. Louis and raised in Oakland, says, “Black folks have been leading cultural and systemic revolutions for so long, and we’re still here and there’s still something to say. We’re not done.”\u003c/span>\u003c/p>\n\u003cp>The video, directed by \u003ca href=\"https://www.instagram.com/zoemountain/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoe Mountain\u003c/a> and shot by \u003ca href=\"https://www.instagram.com/doreanraye/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorean Raye,\u003c/a> combines the piercing gaze with Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s dancing jubilation, as well as archival footage of Black women smiling and putting their feet in the pool on the Washington Mall. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s a complementary aesthetic for a track that has a classy, swing-jazz vibe with a modern, glossy R&B finish.\u003c/p>\n\u003cp>The song, which originally started off as a freestyle, features the guitar of \u003ca href=\"https://www.instagram.com/themisajames/\" target=\"_blank\" rel=\"noopener noreferrer\">Misa James \u003c/a>and was produced by \u003ca href=\"https://www.instagram.com/willrandolphv/\" target=\"_blank\" rel=\"noopener noreferrer\">Will Randolph V\u003c/a>. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s featured on Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s latest EP\u003cem> \u003ca href=\"https://open.spotify.com/album/5cBKigC7xi5eqW8ME6ChFK\" target=\"_blank\" rel=\"noopener noreferrer\">JUBILEE II\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The entire project is both celebration and a call to action. This song in particular honors Rosa Parks by name, but Jada Imani says it\u003cspan style=\"font-weight: 400\">’\u003c/span>s an homage to numerous freedom fighters who came before us, including \u003ca href=\"https://www.npr.org/2009/03/15/101719889/before-rosa-parks-there-was-claudette-colvin\" target=\"_blank\" rel=\"noopener noreferrer\">Claudette Colvin\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s really implant that we know about her because she sacrificed the same way Rosa Parks did, and a lot of people just don’t know her name,” says Imani, who made it a point to highlight Colvin’s story in \u003ca href=\"https://www.instagram.com/reel/ChSjWoPJsRp/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">a recent Instagram post\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On September 15, ten days after Colvin\u003cspan style=\"font-weight: 400\">’\u003c/span>s birthday and ten days before her own, Imani will bring her solemn stare, her joyful dancing and her catchy tunes into KQED\u003cspan style=\"font-weight: 400\">’\u003c/span>s headquarters for a performance alongside \u003ca href=\"https://www.instagram.com/salamirosejoelouis/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s \u003ca href=\"https://smartbomboakland.bandcamp.com/music\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB \u003c/a>comrade \u003ca href=\"https://www.instagram.com/spotebreeze/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Spote Breeze\u003c/a>. \u003ca href=\"https://www.kqed.org/event/2387\" target=\"_blank\" rel=\"noopener noreferrer\">More info here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pass The Aux: Poo$ie, 'Words Don't Hurt'",
"headTitle": "Pass The Aux: Poo$ie, ‘Words Don’t Hurt’ | KQED",
"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Give me a simple kick drum, a snare, and some uplifting words and you’ve got my ear. End the song with cute kids clapping and singing about love and I’m sold.\u003c/p>\n\u003cp>Poo$ie’s 17-track album \u003ca href=\"https://open.spotify.com/album/4CBNoUjrSd1DuOXYgiwhc4?autoplay=true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Still Ain’t Easy\u003c/em>\u003c/a> contains notable features, uptempo bangers and joints to ride to. But he chose “\u003ca href=\"https://www.youtube.com/watch?v=mOGYyK9r-rg\" target=\"_blank\" rel=\"noopener noreferrer\">Words Don’t Hurt\u003c/a>” (featuring Pimping P & D. Marie, and produced by \u003ca href=\"https://www.instagram.com/ogjarin/\" target=\"_blank\" rel=\"noopener noreferrer\">OG Jarin\u003c/a>) as his lead single because it represents where he is as an artist at this point in life, he says.\u003c/p>\n\u003cp>“This song meant the most to me,” Poo$ie tells me of the a catchy, uplifting track. “It’s my favorite song off the album.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Poo$ie - Words Don't Hurt feat. Pimping P & D. Marie (prod. OG Jarin)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/mOGYyK9r-rg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Poo$ie’s three-year-old son Zavion (or “Yuckaman”) is one of the children featured at the end of the song, as well as the video, shot and edited by \u003ca href=\"https://www.instagram.com/seanietsunami300/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Muniz\u003c/a>. “The chant at the end, my son came up with that part,” says Poo$ie. “But he didn’t want to be in the video until the other kids came; when his cousins came, it was over.”\u003c/p>\n\u003cp>Poo$ie, originally from New Orleans’ 8th Ward, is as family-oriented as his son. After Hurricane Katrina, he found a second home and extended family in Oakland, particularly through attending McClymonds High School and within hip-hop circles in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13917945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917945 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/IMG_0971-800x533.jpeg\" alt=\"Poo$ie performs in front of a live crowd at Cornerstone in Berkeley.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie performs in front of a live crowd at Cornerstone in Berkeley. \u003ccite>(Joshua Lee Kennedy / @Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of that influence comes through on \u003cem>Still Ain’t Easy\u003c/em>, an album sprinkled with references to family and friends and guest appearances from talented people in Poo$ie’s network. With praise from established artists like \u003ca href=\"https://twitter.com/p_lo/status/1560133114151653378?s=20&t=2AmrFraPAHYDoDxdk3JO_Q\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and recent shows in Oakland and San Francisco, Poo$ie’s profile is on the rise.\u003c/p>\n\u003cp>“Bruh, this is my biggest project,” he tells me while discussing his latest album. “This is a life changing moment for sure… people are resonating with the music.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Poo$ie performs on Friday, Sept. 9, at Cornerstone in Berkeley. \u003ca href=\"https://cornerstoneberkeley.com/loe-gino-j-lately-ian-kelly-pooie/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Give me a simple kick drum, a snare, and some uplifting words and you’ve got my ear. End the song with cute kids clapping and singing about love and I’m sold.\u003c/p>\n\u003cp>Poo$ie’s 17-track album \u003ca href=\"https://open.spotify.com/album/4CBNoUjrSd1DuOXYgiwhc4?autoplay=true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Still Ain’t Easy\u003c/em>\u003c/a> contains notable features, uptempo bangers and joints to ride to. But he chose “\u003ca href=\"https://www.youtube.com/watch?v=mOGYyK9r-rg\" target=\"_blank\" rel=\"noopener noreferrer\">Words Don’t Hurt\u003c/a>” (featuring Pimping P & D. Marie, and produced by \u003ca href=\"https://www.instagram.com/ogjarin/\" target=\"_blank\" rel=\"noopener noreferrer\">OG Jarin\u003c/a>) as his lead single because it represents where he is as an artist at this point in life, he says.\u003c/p>\n\u003cp>“This song meant the most to me,” Poo$ie tells me of the a catchy, uplifting track. “It’s my favorite song off the album.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Poo$ie - Words Don't Hurt feat. Pimping P & D. Marie (prod. OG Jarin)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/mOGYyK9r-rg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Poo$ie’s three-year-old son Zavion (or “Yuckaman”) is one of the children featured at the end of the song, as well as the video, shot and edited by \u003ca href=\"https://www.instagram.com/seanietsunami300/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Muniz\u003c/a>. “The chant at the end, my son came up with that part,” says Poo$ie. “But he didn’t want to be in the video until the other kids came; when his cousins came, it was over.”\u003c/p>\n\u003cp>Poo$ie, originally from New Orleans’ 8th Ward, is as family-oriented as his son. After Hurricane Katrina, he found a second home and extended family in Oakland, particularly through attending McClymonds High School and within hip-hop circles in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13917945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917945 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/IMG_0971-800x533.jpeg\" alt=\"Poo$ie performs in front of a live crowd at Cornerstone in Berkeley.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie performs in front of a live crowd at Cornerstone in Berkeley. \u003ccite>(Joshua Lee Kennedy / @Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of that influence comes through on \u003cem>Still Ain’t Easy\u003c/em>, an album sprinkled with references to family and friends and guest appearances from talented people in Poo$ie’s network. With praise from established artists like \u003ca href=\"https://twitter.com/p_lo/status/1560133114151653378?s=20&t=2AmrFraPAHYDoDxdk3JO_Q\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and recent shows in Oakland and San Francisco, Poo$ie’s profile is on the rise.\u003c/p>\n\u003cp>“Bruh, this is my biggest project,” he tells me while discussing his latest album. “This is a life changing moment for sure… people are resonating with the music.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Poo$ie performs on Friday, Sept. 9, at Cornerstone in Berkeley. \u003ca href=\"https://cornerstoneberkeley.com/loe-gino-j-lately-ian-kelly-pooie/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return",
"headTitle": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED",
"content": "\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For over 50 years, San Francisco Taiko Dojo has nurtured a love and appreciation for the traditional Japanese art form in the heart of the city’s Japantown district. But now, the dojo founded in 1968 by Grandmaster Seiichi Tanaka faces an uncertain future as new landlords have issued a steep rent increase that’s nearly triple the current studio rent, according to the dojo’s manager.\u003c/p>\n\u003cp>Once echoing with the strong rhythmic pounding of drums, San Francisco Taiko Dojo’s studio space now sits silent, its walls turning barren as members struggle to pack up years of equipment, including a collection of over 100 drums of varying sizes.\u003c/p>\n\u003cp>“I mean, we moved a lot of stuff and it’s barely made a dent,” says Ryuma Tanaka, Grandmaster Tanaka’s son and the dojo’s general manager.\u003c/p>\n\u003cp>As the first taiko group established in the United States, San Francisco Taiko Dojo was also the first to allow women to drum alongside men, and to admit non-Japanese members. Its traditional drum performances are a standby of festivals in Japantown and the performing arts in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13917791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Taiko.embed_-800x569.jpg\" alt=\"\" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Taiko.embed_-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Taiko.embed_-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Taiko.embed_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Taiko.embed_-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Taiko.embed_-1536x1092.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Taiko.embed_.jpg 1592w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A San Francisco Taiko Dojo performance in 1985. \u003ccite>(San Francisco Taiko Dojo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ryuma received a letter about the rent increase in May, he initially kept the news a secret from his father and other dojo members. He ‘fought really hard’ for the lease to be extended until August to allow for dojo members to practice for an upcoming memorial concert in Los Angeles’ Little Tokyo. Thinking it might be the group’s last performance, Ryuma stayed quiet about the rent increase, hoping members would be able to fully showcase their passion and skills to a larger audience outside of the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted them to see San Francisco Taiko Dojo at its best,” says Ryuma, who worried that the news “would just destroy everyone’s spirit, everyone’s morale.”\u003c/p>\n\u003cp>A day after the show, Ryuma broke the news to his dojo members and father. While the conversations were difficult, they were not altogether new. In the past two years, the dojo had already faced several threats of closure due to the pandemic. While each incident presented new struggles, they were able to remain afloat each time. This time, however, the dojo must relocate or shut down permanently.\u003c/p>\n\u003cp>[aside postID='arts_13911290']These days, Ryuma is frantically searching for a new space for the dojo to relocate to. He’s looked into spaces in Hunters Point, Richmond, Vallejo and ‘the whole San Mateo County.’ Storage space isn’t the only issue—there’s also sound. Taiko drumming is loud, and Ryuma says that they are not able to move into areas close to residential neighborhoods for fear of noise complaints.\u003c/p>\n\u003cp>At times, Ryuma says, the stress has been paralyzing, like ‘watching a tsunami on its way over’ but not being able to do anything to stop it. Dejected by these difficulties and the lack of support provided to arts, Ryuma turned towards his community.\u003c/p>\n\u003cp>The dojo began \u003ca href=\"https://www.gofundme.com/f/help-taiko-dojo\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe campaign\u003c/a> on Aug. 12, with an initial goal of $50,000. They surpassed this goal in four days and, as of Aug. 18, have received over 500 donations and raised over $64,707. More importantly, Ryuma says, the outpouring of supportive texts, phone calls and emails have been ‘nonstop.’\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want people to know our situation,” says Ryuma. “Even if you don’t get the big magical rescue—some Hollywood ending.”\u003c/p>\n\n",
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"content": "\u003cp>Three years after his murder, rapper Nipsey Hussle was honored posthumously Monday with a star on the Hollywood Walk of Fame—on what would have been the late rapper’s 37th birthday.\u003c/p>\n\u003cp>The star, which was unveiled in a ceremony Monday afternoon, is located in front of Amoeba Music on Hollywood Boulevard in Los Angeles.\u003c/p>\n\u003cp>[aside postid='arts_13854314']The ceremony included speeches and remarks from members of the late rapper’s family, including his sister, Samantha Smith; his grandmother Margaret Boutte; and his fiancée, actress Lauren London. Boutte accepted the star on behalf of the family.\u003c/p>\n\u003cp>“I think I speak for the entire city of LA when I say that we’ve always known Hussle was destined for greatness,” London told \u003ca href=\"https://www.nbclosangeles.com/news/local/nipsey-hussle-hollywood-walk-of-fame-star/2964169/\" target=\"_blank\" rel=\"noopener noreferrer\">local TV station NBC4\u003c/a>. “This moment only amplifies this for us. Nip would’ve been honored by this moment.”\u003c/p>\n\u003cp>The late rapper’s star on the Walk of Fame is the 2,729th star since its completion in 1961 with the first 1,558 stars, NBC4 reported.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hussle, born Airmiess Joseph Asghedom, was a Grammy-nominated rapper, entrepreneur and philanthropist who was \u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot in 2019\u003c/a> outside the Marathon Clothing store he owned in South Los Angeles.\u003c/p>\n\u003cp>Prior to his murder, Hussle was scheduled to meet with both Los Angeles Police Commissioner Steve Soboroff and Los Angeles Police Department Chief Michel Moore about ways to stop gang violence across the city.\u003c/p>\n\u003cp>[aside postid='arts_13854043']“Nipsey Hussle was more than just a creative genius, he was committed to helping his community through savvy business moves and charitable contributions,” Ana Martinez, producer of the Hollywood Walk of Fame, said in a statement.\u003c/p>\n\u003cp>Hussle was also posthumously honored with two Grammy Awards in 2020 for \u003ca href=\"https://www.grammy.com/news/nipsey-hussle-roddy-ricch-hit-boy-win-best-rap-performance-racks-middle-2020-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">Best Rap Performance\u003c/a> and for \u003ca href=\"https://www.grammy.com/news/dj-khaled-nipsey-hussle-and-john-legend-win-best-rapsung-performance-higher-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Best Rap/Sung Performance\u003c/a>.\u003c/p>\n\u003cp>In July, Los Angeles County jurors found 32-year-old Eric R. Holder Jr. guilty of the first-degree murder of Hussle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additionally, Holder was convicted of attempted voluntary manslaughter, as two other men were injured from the gunfire at the crime scene. Holder could face up to life in prison and will be sentenced next month.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nipsey+Hussle+gets+Hollywood+star+on+what+would+have+been+his+37th+birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years after his murder, rapper Nipsey Hussle was honored posthumously Monday with a star on the Hollywood Walk of Fame—on what would have been the late rapper’s 37th birthday.\u003c/p>\n\u003cp>The star, which was unveiled in a ceremony Monday afternoon, is located in front of Amoeba Music on Hollywood Boulevard in Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ceremony included speeches and remarks from members of the late rapper’s family, including his sister, Samantha Smith; his grandmother Margaret Boutte; and his fiancée, actress Lauren London. Boutte accepted the star on behalf of the family.\u003c/p>\n\u003cp>“I think I speak for the entire city of LA when I say that we’ve always known Hussle was destined for greatness,” London told \u003ca href=\"https://www.nbclosangeles.com/news/local/nipsey-hussle-hollywood-walk-of-fame-star/2964169/\" target=\"_blank\" rel=\"noopener noreferrer\">local TV station NBC4\u003c/a>. “This moment only amplifies this for us. Nip would’ve been honored by this moment.”\u003c/p>\n\u003cp>The late rapper’s star on the Walk of Fame is the 2,729th star since its completion in 1961 with the first 1,558 stars, NBC4 reported.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hussle, born Airmiess Joseph Asghedom, was a Grammy-nominated rapper, entrepreneur and philanthropist who was \u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">fatally shot in 2019\u003c/a> outside the Marathon Clothing store he owned in South Los Angeles.\u003c/p>\n\u003cp>Prior to his murder, Hussle was scheduled to meet with both Los Angeles Police Commissioner Steve Soboroff and Los Angeles Police Department Chief Michel Moore about ways to stop gang violence across the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Nipsey Hussle was more than just a creative genius, he was committed to helping his community through savvy business moves and charitable contributions,” Ana Martinez, producer of the Hollywood Walk of Fame, said in a statement.\u003c/p>\n\u003cp>Hussle was also posthumously honored with two Grammy Awards in 2020 for \u003ca href=\"https://www.grammy.com/news/nipsey-hussle-roddy-ricch-hit-boy-win-best-rap-performance-racks-middle-2020-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">Best Rap Performance\u003c/a> and for \u003ca href=\"https://www.grammy.com/news/dj-khaled-nipsey-hussle-and-john-legend-win-best-rapsung-performance-higher-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Best Rap/Sung Performance\u003c/a>.\u003c/p>\n\u003cp>In July, Los Angeles County jurors found 32-year-old Eric R. Holder Jr. guilty of the first-degree murder of Hussle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Additionally, Holder was convicted of attempted voluntary manslaughter, as two other men were injured from the gunfire at the crime scene. Holder could face up to life in prison and will be sentenced next month.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nipsey+Hussle+gets+Hollywood+star+on+what+would+have+been+his+37th+birthday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "life-between-the-stages-lil-kayla-and-san-jose-jazz",
"title": "Life Between the Stages: Lil Kayla and San Jose Jazz",
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"content": "\u003cp>Mentally I’m somewhere between a Lil Kayla show and the San Jose Jazz Summer Festival. Yup, that’s where I’m at in this stage in life. It clicked this weekend after attending both.\u003c/p>\n\u003cp>I’m an old head at the Lil Kayla show, and a youngsta at the jazz fest. A position that grants me a unique view on the culture around me. I had a moment of gratitude this weekend for being where I am; I like this stage, the in-between stage.\u003c/p>\n\u003cfigure id=\"attachment_13917669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917669 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg\" alt=\"Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday August 12, 2022.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215.jpg 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday, Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/thereal_lilkayla/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a>, a young lyricist with a big personality and a larger following, is the pride of San Francisco’s Sunnydale projects.\u003c/p>\n\u003cp>On Friday night she brought out the neighborhood, devoted fans and her grandmother. A large portion of the audience inside The Chapel were young women with Xs marked on their hands, a sign of being under the legal drinking age.\u003c/p>\n\u003cp>Girls with big eyelashes passed Backwoods back and forth, others revealed braces on their teeth as they smiled. I saw a person with a ring light attached to the back of their phone—a handheld personal stage, ready for her to show out.\u003c/p>\n\u003cfigure id=\"attachment_13917676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg\" alt=\"A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on August 12, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening acts from San Francisco’s \u003ca href=\"https://www.instagram.com/loafyprincesss/\" target=\"_blank\" rel=\"noopener noreferrer\">Mya’Mya\u003c/a> and East Oakland’s “hyphy princess” \u003ca href=\"https://www.instagram.com/princessjourney_/\" target=\"_blank\" rel=\"noopener noreferrer\">Journey B. The Reason\u003c/a> were interspersed with sets from \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>. The crowd was already going when event host \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF \u003c/a>announced Lil Kayla was up next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13910972']Phones came out, camera lights came on, arms went skyward, and the from the moment she walked on the stage the crowd recited Lil Kayla’s lyrics bar for bar.\u003c/p>\n\u003cp>About two-thirds of the way into her set, Lil Kayla invited a few audience members to come on stage and spit her rhymes without skipping a word. Three out of four of the women who participated did so without an issue. Crowd participation on another level. Everyone was Lil Kayla that night.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lil Kayla - One More Chance (OFFICIAL MUSIC VIDEO) dir. by KIING FILMZ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7ngL8H5yRQw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>While standing directly next to the stage taking photos of Lil Kayla, I got a tap on my shoulder. It was a younger brother who was wearing a ski mask, despite the Tucson-like temperatures. Before asking if he could get past me to get on stage, he said, “Excuse me, sir.”\u003c/p>\n\u003cp>That’s where I’m at in life!? “Sir,” in the middle of a Bay Area hip-hop function? Well I’ll be damned. Let me take my geriatric ass to a jazz festival.\u003c/p>\n\u003cfigure id=\"attachment_13917662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg\" alt=\"Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday August 13, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next morning I drove to the San Jose Jazz Summer Fest, and posted in the back of the Tech Interactive’s New Venture Hall. On stage sat jazz scholar and radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener noreferrer\">Greg Bridges\u003c/a> and photographer \u003ca href=\"https://www.instagram.com/rbsphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Birnbach\u003c/a>.\u003c/p>\n\u003cp>“Photographers have a way of adding to the story that the music is telling,” Bridges said at the onset of the conversation. Birnbach discussed best practices for photographing musicians and their instruments from different angles on stage, among other topics.\u003c/p>\n\u003cp>Jumping around from photographic example to photographic example as he talked, Birnbach told the audience his preselected collection of images had gotten out of order. As Birnbach fished for a specific picture, Bridges reminded the audience, “This is jazz, we improvise.”\u003c/p>\n\u003cfigure id=\"attachment_13917674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg\" alt=\"Alabama Mike poses for a photo after performing at the at the 2022 San José Jazz Summer Festival.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alabama Mike poses for a photo after performing at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I went into the jazz fest not knowing what to expect. Improvisation was my entire game plan.\u003c/p>\n\u003cp>After the August sun bounced off of \u003ca href=\"https://www.instagram.com/alabama_mike_blues/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Mike\u003c/a>‘s gold teeth as he ran through his set, next up was \u003ca href=\"https://diunna.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diunna Greenleaf\u003c/a>. As she settled into a chair on stage, she said that sitting on stage isn’t her normal forte, but if she were to fall no one in the audience would be strong enough to pick her up.\u003c/p>\n\u003cp>A big woman with an even larger voice, she held the crowd down from her perch. That is, until she deemed that the crowd wasn’t giving back what she was putting out.\u003c/p>\n\u003cp>During Greenleaf’s rendition of Ray Charles’ “Hard Times,” she got out of the chair and slowly walked down the stage’s steps to join the crowd. The grass where people were sprawled on blankets chillin’ became an impromptu stage. With no microphone, standing in the middle of the crowd and nearly wailing, Greenleaf pushed audience members’ emotional buttons. One person in a white dress was in tears. Another in an orange shirt clasped their hands together, as if in prayer.\u003c/p>\n\u003cfigure id=\"attachment_13917663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg\" alt='Diunna Greenleaf performs \"Hard Times\" in front of a captive audience at the 2022 San José Jazz Summer Festival.' width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diunna Greenleaf performs “Hard Times” in front of a captive audience at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What stage of grief produces this kind of art?\u003c/p>\n\u003cp>After Greenleaf’s performance, came \u003ca href=\"https://ragman.org/tribal-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Tribal Gold\u003c/a>, a combination of the New Orleans Suspects and Big Chief Juan Pardo & the Golden Comanche. They hit the stage and it was instantly Mardi Gras, with the area in front of the stage becoming a dance floor—a sub-stage, if you will.\u003c/p>\n\u003cfigure id=\"attachment_13917668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04203-800x535.jpg\" alt=\"Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San José Jazz Summer Festival on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A toddler dancing to the the jazz and blues got me thinking about the stages of life: how it’s less about age, and more about where your spirit is at that place and time. I’m clearly at that stage between hyphy and swinging jazz. But I still have questions.\u003c/p>\n\u003cp>How much say do we have in choosing what stage we’re on? Is the stage between stages a stage in itself? What differentiates those who love the limelight from those disabled by stage fright? If life is a series of stages, is it real or is it… staged?\u003c/p>\n\u003cfigure id=\"attachment_13917665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg\" alt=\"Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These thoughts ran through my head as I pushed north, up 880 to the final event of the evening: a backyard bonfire and performance at the Regulars Only house.\u003c/p>\n\u003cp>A long list of artists, including \u003ca href=\"https://www.instagram.com/pass510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Fijiana\u003c/a>, \u003ca href=\"https://www.instagram.com/mksmth_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mksmth\u003c/a>, \u003ca href=\"https://www.instagram.com/thedakotawytefoxx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Dakota Wytefoxx\u003c/a>, \u003ca href=\"https://www.instagram.com/popit4gee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gee Pop\u003c/a>, \u003ca href=\"https://www.instagram.com/wantmoren8/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">WantMoren8\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tia Nomore\u003c/a>, \u003ca href=\"https://www.instagram.com/poosie_apex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie,\u003c/a> \u003ca href=\"https://www.instagram.com/princessjourney_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">JourneyB tha Reason\u003c/a>, \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stoni\u003c/a> and more graced the stage.\u003c/p>\n\u003cp>The audience itself was full of talented individuals who could’ve easily rocked the mic with the scheduled performers. Folks like \u003ca href=\"https://www.instagram.com/mad.lines/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> and \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/kingtahoe/\" target=\"_blank\" rel=\"noopener noreferrer\">King Tahoe \u003c/a>and \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>. \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> held down the grill, while \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was in full photographer mode.\u003c/p>\n\u003cfigure id=\"attachment_13917666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg\" alt=\"Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Raj hit the stage and grabbed the mic, just to take an orchestrated photo of the crowd. A sea of who’s-who. Smiles and peace signs. Only a portion of the full list of attendees that evening, but it captured the sentiment.\u003c/p>\n\u003cp>The view from the stage shows people at the function, and it shows a house in the background, one that’s being remodeled.\u003c/p>\n\u003cp>https://www.instagram.com/p/ChTIrgOvexd/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This weekend was a reminder that it’s not always about reaching a new level or getting to that next platform, it’s more about appreciating the stage you’re on—even if you’re in between stages.\u003c/p>\n\n",
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"excerpt": "If you're one part hip-hop function and one part jazz festival, you're not alone, writes Pendarvis Harshaw.",
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"title": "Life Between the Stages: Lil Kayla and San Jose Jazz | KQED",
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"headline": "Life Between the Stages: Lil Kayla and San Jose Jazz",
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"subhead": "Lil Kayla, The San Jose Jazz ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mentally I’m somewhere between a Lil Kayla show and the San Jose Jazz Summer Festival. Yup, that’s where I’m at in this stage in life. It clicked this weekend after attending both.\u003c/p>\n\u003cp>I’m an old head at the Lil Kayla show, and a youngsta at the jazz fest. A position that grants me a unique view on the culture around me. I had a moment of gratitude this weekend for being where I am; I like this stage, the in-between stage.\u003c/p>\n\u003cfigure id=\"attachment_13917669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917669 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg\" alt=\"Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday August 12, 2022.\" width=\"800\" height=\"617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04034-e1660629307215.jpg 1288w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fans capture footage as Lil Kayla performs at The Chapel in San Francisco on Friday, Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/thereal_lilkayla/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a>, a young lyricist with a big personality and a larger following, is the pride of San Francisco’s Sunnydale projects.\u003c/p>\n\u003cp>On Friday night she brought out the neighborhood, devoted fans and her grandmother. A large portion of the audience inside The Chapel were young women with Xs marked on their hands, a sign of being under the legal drinking age.\u003c/p>\n\u003cp>Girls with big eyelashes passed Backwoods back and forth, others revealed braces on their teeth as they smiled. I saw a person with a ring light attached to the back of their phone—a handheld personal stage, ready for her to show out.\u003c/p>\n\u003cfigure id=\"attachment_13917676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg\" alt=\"A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on August 12, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6DDFD960-B179-4C3C-A6AE-00090D35D650.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of the crowd at the Lil Kayla show at The Chapel in San Francisco on Aug. 12, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening acts from San Francisco’s \u003ca href=\"https://www.instagram.com/loafyprincesss/\" target=\"_blank\" rel=\"noopener noreferrer\">Mya’Mya\u003c/a> and East Oakland’s “hyphy princess” \u003ca href=\"https://www.instagram.com/princessjourney_/\" target=\"_blank\" rel=\"noopener noreferrer\">Journey B. The Reason\u003c/a> were interspersed with sets from \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>. The crowd was already going when event host \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF \u003c/a>announced Lil Kayla was up next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Phones came out, camera lights came on, arms went skyward, and the from the moment she walked on the stage the crowd recited Lil Kayla’s lyrics bar for bar.\u003c/p>\n\u003cp>About two-thirds of the way into her set, Lil Kayla invited a few audience members to come on stage and spit her rhymes without skipping a word. Three out of four of the women who participated did so without an issue. Crowd participation on another level. Everyone was Lil Kayla that night.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Lil Kayla - One More Chance (OFFICIAL MUSIC VIDEO) dir. by KIING FILMZ\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/7ngL8H5yRQw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>While standing directly next to the stage taking photos of Lil Kayla, I got a tap on my shoulder. It was a younger brother who was wearing a ski mask, despite the Tucson-like temperatures. Before asking if he could get past me to get on stage, he said, “Excuse me, sir.”\u003c/p>\n\u003cp>That’s where I’m at in life!? “Sir,” in the middle of a Bay Area hip-hop function? Well I’ll be damned. Let me take my geriatric ass to a jazz festival.\u003c/p>\n\u003cfigure id=\"attachment_13917662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg\" alt=\"Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday August 13, 2022. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/6A7B1855-B118-4476-9279-C911868C6F05.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radio host Greg Bridges and photographer Robert Birnbach engage in a conversation about jazz, photography and more during the 2022 San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The next morning I drove to the San Jose Jazz Summer Fest, and posted in the back of the Tech Interactive’s New Venture Hall. On stage sat jazz scholar and radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener noreferrer\">Greg Bridges\u003c/a> and photographer \u003ca href=\"https://www.instagram.com/rbsphoto/\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Birnbach\u003c/a>.\u003c/p>\n\u003cp>“Photographers have a way of adding to the story that the music is telling,” Bridges said at the onset of the conversation. Birnbach discussed best practices for photographing musicians and their instruments from different angles on stage, among other topics.\u003c/p>\n\u003cp>Jumping around from photographic example to photographic example as he talked, Birnbach told the audience his preselected collection of images had gotten out of order. As Birnbach fished for a specific picture, Bridges reminded the audience, “This is jazz, we improvise.”\u003c/p>\n\u003cfigure id=\"attachment_13917674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg\" alt=\"Alabama Mike poses for a photo after performing at the at the 2022 San José Jazz Summer Festival.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04134-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alabama Mike poses for a photo after performing at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I went into the jazz fest not knowing what to expect. Improvisation was my entire game plan.\u003c/p>\n\u003cp>After the August sun bounced off of \u003ca href=\"https://www.instagram.com/alabama_mike_blues/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Alabama Mike\u003c/a>‘s gold teeth as he ran through his set, next up was \u003ca href=\"https://diunna.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Diunna Greenleaf\u003c/a>. As she settled into a chair on stage, she said that sitting on stage isn’t her normal forte, but if she were to fall no one in the audience would be strong enough to pick her up.\u003c/p>\n\u003cp>A big woman with an even larger voice, she held the crowd down from her perch. That is, until she deemed that the crowd wasn’t giving back what she was putting out.\u003c/p>\n\u003cp>During Greenleaf’s rendition of Ray Charles’ “Hard Times,” she got out of the chair and slowly walked down the stage’s steps to join the crowd. The grass where people were sprawled on blankets chillin’ became an impromptu stage. With no microphone, standing in the middle of the crowd and nearly wailing, Greenleaf pushed audience members’ emotional buttons. One person in a white dress was in tears. Another in an orange shirt clasped their hands together, as if in prayer.\u003c/p>\n\u003cfigure id=\"attachment_13917663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg\" alt='Diunna Greenleaf performs \"Hard Times\" in front of a captive audience at the 2022 San José Jazz Summer Festival.' width=\"800\" height=\"561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-1020x715.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04162-e1660627054394.jpg 1422w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diunna Greenleaf performs “Hard Times” in front of a captive audience at the 2022 San Jose Jazz Summer Fest. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What stage of grief produces this kind of art?\u003c/p>\n\u003cp>After Greenleaf’s performance, came \u003ca href=\"https://ragman.org/tribal-gold\" target=\"_blank\" rel=\"noopener noreferrer\">Tribal Gold\u003c/a>, a combination of the New Orleans Suspects and Big Chief Juan Pardo & the Golden Comanche. They hit the stage and it was instantly Mardi Gras, with the area in front of the stage becoming a dance floor—a sub-stage, if you will.\u003c/p>\n\u003cfigure id=\"attachment_13917668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/DSC04203-800x535.jpg\" alt=\"Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San José Jazz Summer Festival on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/DSC04203.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Chief Juan Pardo & the Golden Comanche of Tribal Gold perform at the San Jose Jazz Summer Fest on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A toddler dancing to the the jazz and blues got me thinking about the stages of life: how it’s less about age, and more about where your spirit is at that place and time. I’m clearly at that stage between hyphy and swinging jazz. But I still have questions.\u003c/p>\n\u003cp>How much say do we have in choosing what stage we’re on? Is the stage between stages a stage in itself? What differentiates those who love the limelight from those disabled by stage fright? If life is a series of stages, is it real or is it… staged?\u003c/p>\n\u003cfigure id=\"attachment_13917665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917665\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg\" alt=\"Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/044A8378-0B30-4725-B697-E7F08469AFF4.jpg 1082w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pallaví aka Fijiana watching friend and fellow rapper Stoni perform in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These thoughts ran through my head as I pushed north, up 880 to the final event of the evening: a backyard bonfire and performance at the Regulars Only house.\u003c/p>\n\u003cp>A long list of artists, including \u003ca href=\"https://www.instagram.com/pass510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz\u003c/a>, \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Fijiana\u003c/a>, \u003ca href=\"https://www.instagram.com/mksmth_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mksmth\u003c/a>, \u003ca href=\"https://www.instagram.com/thedakotawytefoxx/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">The Dakota Wytefoxx\u003c/a>, \u003ca href=\"https://www.instagram.com/popit4gee/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gee Pop\u003c/a>, \u003ca href=\"https://www.instagram.com/wantmoren8/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">WantMoren8\u003c/a>, \u003ca href=\"https://www.instagram.com/tia.nomore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Tia Nomore\u003c/a>, \u003ca href=\"https://www.instagram.com/poosie_apex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie,\u003c/a> \u003ca href=\"https://www.instagram.com/princessjourney_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">JourneyB tha Reason\u003c/a>, \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/callherstoni/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stoni\u003c/a> and more graced the stage.\u003c/p>\n\u003cp>The audience itself was full of talented individuals who could’ve easily rocked the mic with the scheduled performers. Folks like \u003ca href=\"https://www.instagram.com/mad.lines/\" target=\"_blank\" rel=\"noopener noreferrer\">MADlines\u003c/a> and \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/kingtahoe/\" target=\"_blank\" rel=\"noopener noreferrer\">King Tahoe \u003c/a>and \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener noreferrer\">Guapdad 4000\u003c/a>. \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> held down the grill, while \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> was in full photographer mode.\u003c/p>\n\u003cfigure id=\"attachment_13917666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917666\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg\" alt=\"Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday August 13, 2022.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/5491A041-12A5-452B-9767-0DA68D518390.jpg 1079w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wantmoren8 spitting rhymes during a performance in the Regulars Only backyard on Saturday, Aug. 13, 2022. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point Raj hit the stage and grabbed the mic, just to take an orchestrated photo of the crowd. A sea of who’s-who. Smiles and peace signs. Only a portion of the full list of attendees that evening, but it captured the sentiment.\u003c/p>\n\u003cp>The view from the stage shows people at the function, and it shows a house in the background, one that’s being remodeled.\u003c/p>\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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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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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