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"title": "PHOTOS: Peso Pluma Fans in San Jose Show Up in Style for Mexican Superstar’s Tour",
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"content": "\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>[aside postID='arts_13936015']With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A sea of black outfits, sombreros and Mexican pride greeted Peso Pluma's Doble P tour at San Jose's SAP Center.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Friday the 13th in San Jose was far from ordinary at the SAP Center, where an eerie, oversized, purple-and-pink spider on the street greeted \u003ca href=\"https://www.kqed.org/news/11963875/peso-pluma-san-jose-parking-schedule\">Peso Pluma\u003c/a>’s devoted fans for his anticipated return to The Bay.\u003c/p>\n\u003cp>Born Hassan Emilio Kabande Laija in Guadalajara, Mexico, the 24-year-old is a prominent figure in the surging Mexican corridos scene, ignited by hits like “La Bebe” with \u003ca href=\"https://www.billboard.com/music/latin/yng-lvcas-peso-pluma-la-bebe-remix-hot-100-interview-1235315184/\">Yng Lvcas\u003c/a> and a collaboration with the Mexican-American group \u003ca href=\"https://variety.com/2023/music/news/peso-pluma-eslabon-armado-ella-baila-sola-global-song-summer-spotify-1235702519/\">Eslabon Armado\u003c/a> on “Ella Baila Sola” — which made history as the first \u003ca href=\"https://www.billboard.com/t/regional-mexican/\">regional Mexican track\u003c/a> to reach the top five on the all-genre chart.\u003c/p>\n\u003cfigure id=\"attachment_13936442\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-53-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Peso Pluma teased his set with a pre-recorded video of each of his band members sharing what Peso Pluma meant to them: family, companionship, a lifestyle. Then came a black-and-white countdown projected onto a white stage curtain, displaying spiders crawling downward, as if into the crowd. As soon as the curtain dropped, the young artist was greeted with screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With his full band in tow, Peso Pluma didn’t just offer music; he provided a unique, high-energy experience for fans and aspiring Latinx artists alike. \u003c/p>\n\u003cp>Concert attendees showed their style, ranging from ski masks inspired by Peso Pluma himself to sombreros, all-black outfits and an outpouring of Mexican pride. KQED’s Paloma Abarca and photographer Estefany Gonzalez were there to capture the artist’s far-reaching impact.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936416\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-14-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Isael Altamirano (left) and Santi Ochoa sport matching haircuts to Peso Pluma’s Doble P tour at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936433\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-44-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Gomez wears custom nails to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936414\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-10-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oscar Rojas (left) and Betsy Luna pose pose for a portrait with the Mexican flag outside the SAP Center on Friday, Oct. 13, 2023. The two are very proud of their Mexican heritage. ‘Mexicanos al el 100 por ciento,’ Rojas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936436\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-59-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936427\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-30-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Ángeles Acevedo wears sparkly jersey and cowboy boots to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936413\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-8-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Marlen Martinez (left) and Eduardo Martinez pose for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-35-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jose Plata wears a ski mask, an accessory often worn by Peso Pluma, to SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936434\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-46-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Yeni Mota (right) and daughter Ashlyn Mota wear matching outfits to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936437\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-78-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936424\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-23-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">José Rodríguez poses for a portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936431\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-41-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jazmin Sigala (left) and Isabel Perez pose for portrait outside the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936412\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg\" alt=\"\" width=\"853\" height=\"1280\" class=\"size-full wp-image-13936412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-6-768x1152.jpg 768w\" sizes=\"(max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Zaira Cortez wears a spider necklace to Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936440\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma concert attendees arrive to the SAP Center via Eco City Cycles on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936438\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-82-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma performs at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936425\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936425\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-27-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Cristina Ledezma (left) and Sade Ledezma wear matching shirts to the Peso Pluma concert at SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936408\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Magy Hernández and her children Aylin Hernández and Adrian Hernández pose for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. The three traveled from Chicago to attend the Peso Pluma concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936415\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231013_PesoPluma_EG-11-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Braulio Ochoa poses for a portrait next to a spider installation at the SAP Center on Friday, Oct. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lance Gardner Is Marin Theatre Company’s New Artistic Director",
"headTitle": "Lance Gardner Is Marin Theatre Company’s New Artistic Director | KQED",
"content": "\u003cfigure id=\"attachment_13936221\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gardner.SQ_.jpg\" alt=\"A man in black shirt and sport coat, with glasses and beard, looks into the camera, smiling, against a grey background\" width=\"966\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_.jpg 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-768x768.jpg 768w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner will step into the role of artistic director at Marin Theatre Company in November. \u003ccite>(Alain Mclaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marin Theatre Company (MTC) has chosen a new artistic director. Lance Gardner, the Bay Area actor and producer with more than 20 years of experience and acclaimed performances around the region, will step into the role in November.\u003c/p>\n\u003cp>“The Board is enthusiastic about Mr. Gardner’s vision for innovative programming and forging community partnerships,” read a statement by Matthew Purdon, Board President of MTC, which was founded in 1966. “We eagerly anticipate this exciting next chapter in Marin Theatre Company’s history.”\u003c/p>\n\u003cp>Gardner, 41, is no stranger to area stages, having acted in roles at Berkeley Repertory Theatre, California Shakespeare Theater, Magic Theatre, TheatreWorks and others. His history with MTC includes roles in \u003cem>A Short History of Nearly Everything\u003c/em>, \u003cem>Lovers & Executioners\u003c/em>, \u003cem>A Streetcar Named Desire\u003c/em>, \u003cem>Fuddy Meers\u003c/em>, \u003cem>Shakespeare in Love\u003c/em>, \u003cem>Equivocation\u003c/em> and \u003cem>Skeleton Crew\u003c/em>.\u003c/p>\n\u003cp>“In some ways it’s felt like an artistic home to me,” Gardner said of the company in a phone interview on Tuesday. “I’ve always appreciated the ambition of not only the choices of the plays, but the actors who work there.”\u003c/p>\n\u003cfigure id=\"attachment_13823623\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg\" alt=\"Reggie (Lance Gardner) can't quite figure out how he got to this moment in 'The Skeleton Crew' by Dominique Morrisseau at the Marin Theatre Company.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner as Reggie in ‘The Skeleton Crew’ by Dominique Morrisseau at Marin Theatre Company, in 2018. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of Gardner’s stated vision is to present work that belongs to the broader community, “rather than laying down the ‘Lance Gardner season,'” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What I want to do is collaborate with the staff, with Mill Valley and southern Marin, and the Bay Area artistic community, to curate something that feels like it’s \u003cem>ours\u003c/em>.”\u003c/p>\n\u003cp>In addition to his extensive theater credentials, Gardner brings real-world experience, including a two-year stint as a certified EMT providing care in ambulances — and, for the better part of the past four years, he’s worked as a producer of live events for this very media outlet.\u003c/p>\n\u003cp>Gardner came to KQED in 2019 as a founding producer for \u003ca href=\"https://www.kqed.org/events\">KQED Live\u003c/a>, which hosts events in The Commons, a 238-person capacity theater at KQED’s headquarters in San Francisco. At the time, his departure from theater was such news that it inspired \u003ca href=\"https://datebook.sfchronicle.com/theater/lance-gardner-achieved-the-bay-area-stage-actors-dream-and-it-wasnt-enough\">a \u003cem>San Francisco Chronicle\u003c/em> profile by theater critic Lily Janiak\u003c/a>, questioning why Bay Area theater couldn’t sustain such a talented and in-demand actor with a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13936241\" class=\"wp-caption aligncenter\" style=\"max-width: 1452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936241\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg\" alt=\"A man in glasses and black shirt and jacket holds up his right hand to give direction to people on a stage, out of frame to the left.\" width=\"1452\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg 1452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-768x511.jpg 768w\" sizes=\"(max-width: 1452px) 100vw, 1452px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner directs a rehearsal for a screening of ‘The Big Payback’ by Erika Alexander & Whitney Dow, with a panel discussion moderated by Ariana Proehl. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that Gardner learned in events production, he said, is how to “take into account the things that people like that you either don’t like, or don’t understand.” He himself is a fan of comedy, magical realism and poetry, he noted. But “there are people who are experts in their own tastes out there. And you need those people.”\u003c/p>\n\u003cp>As for a controversial 2017 MTC premiere of the play \u003cem>Thomas and Sally\u003c/em>, about the relationship between Thomas Jefferson and his slave Sally Hemings, Gardner said he saw the script beforehand and turned down an opportunity to be involved: “I didn’t want anything to do with it.”\u003c/p>\n\u003cp>Gardner, who is also currently board president at Aurora Theatre Company, succeeds previous MTC artistic director Jasson Minadakis, who left in March after 17 years in the role.\u003c/p>\n\u003cp>MTC’s managing director Meredith Suttles said in a statement that “I am thrilled to extend a warm welcome to Lance at Marin Theatre Company and look forward to collaborating with him as we together guide this much-loved institution into its next phase.”\u003c/p>\n\u003cp>Gardner’s first day at MTC is Nov. 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Bay Area actor and producer with a long resumé of acclaimed performances steps into the role in November. ",
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"title": "Lance Gardner Is Marin Theatre Company’s New Artistic Director | KQED",
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"headline": "Lance Gardner Is Marin Theatre Company’s New Artistic Director",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936221\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936221\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Gardner.SQ_.jpg\" alt=\"A man in black shirt and sport coat, with glasses and beard, looks into the camera, smiling, against a grey background\" width=\"966\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_.jpg 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Gardner.SQ_-768x768.jpg 768w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner will step into the role of artistic director at Marin Theatre Company in November. \u003ccite>(Alain Mclaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marin Theatre Company (MTC) has chosen a new artistic director. Lance Gardner, the Bay Area actor and producer with more than 20 years of experience and acclaimed performances around the region, will step into the role in November.\u003c/p>\n\u003cp>“The Board is enthusiastic about Mr. Gardner’s vision for innovative programming and forging community partnerships,” read a statement by Matthew Purdon, Board President of MTC, which was founded in 1966. “We eagerly anticipate this exciting next chapter in Marin Theatre Company’s history.”\u003c/p>\n\u003cp>Gardner, 41, is no stranger to area stages, having acted in roles at Berkeley Repertory Theatre, California Shakespeare Theater, Magic Theatre, TheatreWorks and others. His history with MTC includes roles in \u003cem>A Short History of Nearly Everything\u003c/em>, \u003cem>Lovers & Executioners\u003c/em>, \u003cem>A Streetcar Named Desire\u003c/em>, \u003cem>Fuddy Meers\u003c/em>, \u003cem>Shakespeare in Love\u003c/em>, \u003cem>Equivocation\u003c/em> and \u003cem>Skeleton Crew\u003c/em>.\u003c/p>\n\u003cp>“In some ways it’s felt like an artistic home to me,” Gardner said of the company in a phone interview on Tuesday. “I’ve always appreciated the ambition of not only the choices of the plays, but the actors who work there.”\u003c/p>\n\u003cfigure id=\"attachment_13823623\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13823623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg\" alt=\"Reggie (Lance Gardner) can't quite figure out how he got to this moment in 'The Skeleton Crew' by Dominique Morrisseau at the Marin Theatre Company.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MTC_SC_Gardner_HiRes-e1517646230770-520x293.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner as Reggie in ‘The Skeleton Crew’ by Dominique Morrisseau at Marin Theatre Company, in 2018. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of Gardner’s stated vision is to present work that belongs to the broader community, “rather than laying down the ‘Lance Gardner season,'” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I want to do is collaborate with the staff, with Mill Valley and southern Marin, and the Bay Area artistic community, to curate something that feels like it’s \u003cem>ours\u003c/em>.”\u003c/p>\n\u003cp>In addition to his extensive theater credentials, Gardner brings real-world experience, including a two-year stint as a certified EMT providing care in ambulances — and, for the better part of the past four years, he’s worked as a producer of live events for this very media outlet.\u003c/p>\n\u003cp>Gardner came to KQED in 2019 as a founding producer for \u003ca href=\"https://www.kqed.org/events\">KQED Live\u003c/a>, which hosts events in The Commons, a 238-person capacity theater at KQED’s headquarters in San Francisco. At the time, his departure from theater was such news that it inspired \u003ca href=\"https://datebook.sfchronicle.com/theater/lance-gardner-achieved-the-bay-area-stage-actors-dream-and-it-wasnt-enough\">a \u003cem>San Francisco Chronicle\u003c/em> profile by theater critic Lily Janiak\u003c/a>, questioning why Bay Area theater couldn’t sustain such a talented and in-demand actor with a living wage.\u003c/p>\n\u003cfigure id=\"attachment_13936241\" class=\"wp-caption aligncenter\" style=\"max-width: 1452px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936241\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg\" alt=\"A man in glasses and black shirt and jacket holds up his right hand to give direction to people on a stage, out of frame to the left.\" width=\"1452\" height=\"966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024.jpg 1452w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/KQEDLIVE23BigPayback-024-768x511.jpg 768w\" sizes=\"(max-width: 1452px) 100vw, 1452px\">\u003cfigcaption class=\"wp-caption-text\">Lance Gardner directs a rehearsal for a screening of ‘The Big Payback’ by Erika Alexander & Whitney Dow, with a panel discussion moderated by Ariana Proehl. \u003ccite>(Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing that Gardner learned in events production, he said, is how to “take into account the things that people like that you either don’t like, or don’t understand.” He himself is a fan of comedy, magical realism and poetry, he noted. But “there are people who are experts in their own tastes out there. And you need those people.”\u003c/p>\n\u003cp>As for a controversial 2017 MTC premiere of the play \u003cem>Thomas and Sally\u003c/em>, about the relationship between Thomas Jefferson and his slave Sally Hemings, Gardner said he saw the script beforehand and turned down an opportunity to be involved: “I didn’t want anything to do with it.”\u003c/p>\n\u003cp>Gardner, who is also currently board president at Aurora Theatre Company, succeeds previous MTC artistic director Jasson Minadakis, who left in March after 17 years in the role.\u003c/p>\n\u003cp>MTC’s managing director Meredith Suttles said in a statement that “I am thrilled to extend a warm welcome to Lance at Marin Theatre Company and look forward to collaborating with him as we together guide this much-loved institution into its next phase.”\u003c/p>\n\u003cp>Gardner’s first day at MTC is Nov. 6.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges",
"headTitle": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges | KQED",
"content": "\u003cp>Over 75 people held a candlelight vigil outside Berkeley’s Alta Bates Summit Medical Center on Sunday night for Stephen Gaines, also known as the rapper \u003ca href=\"https://www.kqed.org/arts/tag/zumbi\">Zumbi\u003c/a> from the group \u003ca href=\"https://www.instagram.com/zion_i_crew/?hl=en\">Zion I\u003c/a>. For more than two hours, supporters and loved ones of the spiritually-minded rapper shared songs, memories and calls for justice.\u003c/p>\n\u003cp>Zumbi died at the hospital in August 2021 after \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">multiple security guards and staff pinned him to the floor and placed their weight on him\u003c/a> for approximately five to 10 minutes. In 2022, one year later, the Alameda County coroner ruled his death a homicide.\u003c/p>\n\u003cp>[aside postID='arts_13920198']But Alameda County prosecutors still have not brought criminal charges against the hospital or the security company, Allied Security. At the vigil, Zumbi’s mother, Carolyn Gaines, expressed her frustration at the inaction.\u003c/p>\n\u003cp>“How do you determine something is a homicide, and then not hold anybody responsible?” asked Gaines.\u003c/p>\n\u003cfigure id=\"attachment_13936062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg\" alt=\"A person with long hair looks down at a set of candles in their hands while standing in a large group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila (center), attends a vigil in memory of her partner, the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Alameda County District Attorney’s Office did not respond to a request for comment. But at the vigil Sunday night, in the shadow of the fourth floor at Alta Bates where Zumbi spent his final moments, supporters made their voices clear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Let’s keep fighting,” urged Millaray Rodriguez Avila, Zumbi’s partner of four years. “It’s not just Zumbi. It’s another brother tomorrow. Another sister tomorrow.”\u003c/p>\n\u003cp>Several hip-hop artists, including \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a> and Zumbi’s partner in Zion I, \u003ca href=\"https://www.instagram.com/amplivesworld/\">Amp Live\u003c/a>, joined the vigil. Oakland musician \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a> shared a freestyle (“Zumbi keeps telling me / Represent light, represent life”), while \u003ca href=\"https://www.instagram.com/damedrummer/?hl=en\">Dame Drummer\u003c/a> accompanied himself on guitar to sing a mournful solo song written just days prior.\u003c/p>\n\u003cfigure id=\"attachment_13936064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg\" alt=\"A person wearing a hat sings outdoors at night surrounded by a group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime collaborator \u003ca href=\"https://www.instagram.com/thegrouch/?hl=en\">The Grouch\u003c/a>, explaining that “Zumbi’s number one thing was to spread music,” played a song for attendees over the P.A. that had never been released: a group effort between himself, Zumbi, Eligh and Choice, with verses dedicated to their five-year-old selves.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, who performed alongside Zion I on Zumbi’s last tour, was more pointed in his call for accountability. “Allied Security, they’ve been known to get away with murder. Even more than the police,” he said.\u003c/p>\n\u003cp>While former District Attorney Nancy O’Malley initially declined to file criminal charges, O’Malley \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">told lawyers and family shortly afterward\u003c/a> that she would revisit the case.\u003c/p>\n\u003cp>Now, with new District Attorney Pamela Price \u003ca href=\"https://www.kqed.org/news/11957036/a-campaign-to-recall-alameda-countys-progressive-da-kicks-off\">facing a recall effort\u003c/a>, Carolyn Gaines lamented, “I don’t know that she will ever get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13936065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg\" alt=\"A group of people gather and hold candles outside of a large building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines and Rodriguez Avila both spoke of their own desire, as well as the need of the public, to view the hospital surveillance video of Zumbi’s death, which neither Alta Bates nor Berkeley Police have agreed to release.\u003c/p>\n\u003cp>The video could answer outstanding questions of how long, exactly, guards were piled on top of Zumbi, as well as the circumstances leading up to it.\u003c/p>\n\u003cp>“I want people to know what happened,” said Rodriguez Avila, one of many who have spoken to Zumbi’s gentle and loving nature, and how impossible it is to imagine him behaving in a physically threatening manner. “It’s not just me, it’s everybody. We want to see.”\u003c/p>\n\u003cp>Meanwhile, a civil lawsuit is in progress. Gaines gave a brief update on that case, saying that attorneys had recently sent interrogatories.\u003c/p>\n\u003cfigure id=\"attachment_13936063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg\" alt=\"A group of people gather, holding candles and singing around the photo of a person with long hair and a goatee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, sing happy birthday to him in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I know some of you have been very frustrated,” Gaines told the crowd. “I want to warn you: Do not think that there is going to be results next month. It may yet be next year. This process moves incredibly slow.”\u003c/p>\n\u003cp>As candles flickered and the air chilled, her final promise brought a round of applause.\u003c/p>\n\u003cp>“As long as God gives me breath,” she said, “be ye assured that Carolyn Webb Gaines will still be on the case.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "More than two years after the artist's death at a Berkeley hospital, his family and community are demanding answers. ",
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"title": "At Vigil for Bay Area Rapper Zumbi, Renewed Calls for Criminal Charges | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 75 people held a candlelight vigil outside Berkeley’s Alta Bates Summit Medical Center on Sunday night for Stephen Gaines, also known as the rapper \u003ca href=\"https://www.kqed.org/arts/tag/zumbi\">Zumbi\u003c/a> from the group \u003ca href=\"https://www.instagram.com/zion_i_crew/?hl=en\">Zion I\u003c/a>. For more than two hours, supporters and loved ones of the spiritually-minded rapper shared songs, memories and calls for justice.\u003c/p>\n\u003cp>Zumbi died at the hospital in August 2021 after \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">multiple security guards and staff pinned him to the floor and placed their weight on him\u003c/a> for approximately five to 10 minutes. In 2022, one year later, the Alameda County coroner ruled his death a homicide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Alameda County prosecutors still have not brought criminal charges against the hospital or the security company, Allied Security. At the vigil, Zumbi’s mother, Carolyn Gaines, expressed her frustration at the inaction.\u003c/p>\n\u003cp>“How do you determine something is a homicide, and then not hold anybody responsible?” asked Gaines.\u003c/p>\n\u003cfigure id=\"attachment_13936062\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936062\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg\" alt=\"A person with long hair looks down at a set of candles in their hands while standing in a large group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila (center), attends a vigil in memory of her partner, the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Alameda County District Attorney’s Office did not respond to a request for comment. But at the vigil Sunday night, in the shadow of the fourth floor at Alta Bates where Zumbi spent his final moments, supporters made their voices clear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Let’s keep fighting,” urged Millaray Rodriguez Avila, Zumbi’s partner of four years. “It’s not just Zumbi. It’s another brother tomorrow. Another sister tomorrow.”\u003c/p>\n\u003cp>Several hip-hop artists, including \u003ca href=\"https://www.instagram.com/delhiero/\">Del the Funky Homosapien\u003c/a> and Zumbi’s partner in Zion I, \u003ca href=\"https://www.instagram.com/amplivesworld/\">Amp Live\u003c/a>, joined the vigil. Oakland musician \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a> shared a freestyle (“Zumbi keeps telling me / Represent light, represent life”), while \u003ca href=\"https://www.instagram.com/damedrummer/?hl=en\">Dame Drummer\u003c/a> accompanied himself on guitar to sing a mournful solo song written just days prior.\u003c/p>\n\u003cfigure id=\"attachment_13936064\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg\" alt=\"A person wearing a hat sings outdoors at night surrounded by a group of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-10-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Longtime collaborator \u003ca href=\"https://www.instagram.com/thegrouch/?hl=en\">The Grouch\u003c/a>, explaining that “Zumbi’s number one thing was to spread music,” played a song for attendees over the P.A. that had never been released: a group effort between himself, Zumbi, Eligh and Choice, with verses dedicated to their five-year-old selves.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/equipto_415/\">Equipto\u003c/a>, who performed alongside Zion I on Zumbi’s last tour, was more pointed in his call for accountability. “Allied Security, they’ve been known to get away with murder. Even more than the police,” he said.\u003c/p>\n\u003cp>While former District Attorney Nancy O’Malley initially declined to file criminal charges, O’Malley \u003ca href=\"https://www.kqed.org/arts/13920004/zumbi-homicide-investigation-criminal-charges\">told lawyers and family shortly afterward\u003c/a> that she would revisit the case.\u003c/p>\n\u003cp>Now, with new District Attorney Pamela Price \u003ca href=\"https://www.kqed.org/news/11957036/a-campaign-to-recall-alameda-countys-progressive-da-kicks-off\">facing a recall effort\u003c/a>, Carolyn Gaines lamented, “I don’t know that she will ever get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13936065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg\" alt=\"A group of people gather and hold candles outside of a large building.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaines and Rodriguez Avila both spoke of their own desire, as well as the need of the public, to view the hospital surveillance video of Zumbi’s death, which neither Alta Bates nor Berkeley Police have agreed to release.\u003c/p>\n\u003cp>The video could answer outstanding questions of how long, exactly, guards were piled on top of Zumbi, as well as the circumstances leading up to it.\u003c/p>\n\u003cp>“I want people to know what happened,” said Rodriguez Avila, one of many who have spoken to Zumbi’s gentle and loving nature, and how impossible it is to imagine him behaving in a physically threatening manner. “It’s not just me, it’s everybody. We want to see.”\u003c/p>\n\u003cp>Meanwhile, a civil lawsuit is in progress. Gaines gave a brief update on that case, saying that attorneys had recently sent interrogatories.\u003c/p>\n\u003cfigure id=\"attachment_13936063\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936063\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg\" alt=\"A group of people gather, holding candles and singing around the photo of a person with long hair and a goatee.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231008-ZUMBI-VIGIL-MD-09-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a vigil in memory of the hip-hop artist Zumbi, who died in 2021 at the hands of Alta Bates staff and security, sing happy birthday to him in front of Alta Bates Summit Medical Center in Berkeley on Oct. 8, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I know some of you have been very frustrated,” Gaines told the crowd. “I want to warn you: Do not think that there is going to be results next month. It may yet be next year. This process moves incredibly slow.”\u003c/p>\n\u003cp>As candles flickered and the air chilled, her final promise brought a round of applause.\u003c/p>\n\u003cp>“As long as God gives me breath,” she said, “be ye assured that Carolyn Webb Gaines will still be on the case.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "RBD Fans Flock to San Jose's SAP Center for 'Rebelde' Reunion",
"headTitle": "RBD Fans Flock to San Jose’s SAP Center for ‘Rebelde’ Reunion | KQED",
"content": "\u003cfigure id=\"attachment_13936031\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7908.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Guerrero traveled from Gonzales to attend the RBD concert at SAP Center on Friday, Oct. 6, 2023. Guerrero spent a week bedazzling her hat for the group’s reunion tour. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday night in San Jose, RBD devotees filled the SAP Center dressed to the T in bedazzled red blazers, crisp white button-ups, on-theme ties and denim.\u003c/p>\n\u003cp>The legendary Mexican pop group, who catapulted to fame in the 2000s via the wildly popular teen telenovela \u003cem>\u003ca href=\"https://tv.apple.com/us/show/rebelde/umc.cmc.2f8a7abumingof0h8j02li6kq\">Rebelde\u003c/a>\u003c/em>, launched their Soy Rebelde reunion tour in August, with 54 dates at stadiums and arenas spanning Brazil, Colombia, Mexico and the United States.\u003c/p>\n\u003cp>In San Jose, it was undeniable: RBD still has a grip on the hearts of millennials and Gen Zers alike.\u003c/p>\n\u003cfigure id=\"attachment_13936017\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7719.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Paulina Salinas and Miriam Salinas wait in line with friend Marlene Garibay to see RBD perform at SAP Center on Friday, Oct. 6, 2023. The three are long time RBD fans and have listened to the band since their high school days. “Ya estamos trentreinta-onas (we’re in our 30’s now,) but we’re still here,” Paula Salinas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Members \u003ca href=\"https://www.instagram.com/dulcemaria/?hl=en\">Dulce María Espinoza\u003c/a>, \u003ca href=\"https://www.instagram.com/christianchavezreal/?hl=en\">Christian Chávez\u003c/a>, \u003ca href=\"https://www.instagram.com/maiteperroni/?hl=en\">Maite Perroni\u003c/a>, \u003ca href=\"https://www.instagram.com/anahi/?hl=en\">Anahí Puente\u003c/a> and \u003ca href=\"https://www.instagram.com/christophervuckermann/?hl=en\">Christopher von Uckermann\u003c/a> emerged on a floating circular platform that hovered to the center of the SAP stage. Together they ignited euphoric 2000s memories, transforming the arena’s giant screens into vortexes that took many back into their childhood.\u003c/p>\n\u003cp>For many, the show marked a first encounter with RBD outside the confines of a TV screen. An evening once spent glued to the sofa watching the telenovela, shared with family or close friends, had now transformed into a vibrant, shared spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13936038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a 15-year hiatus, RBD’s comeback is shaping up to be one of the biggest reunions in Latin music history — a profoundly nostalgic odyssey for steadfast fans that weaves their remarkable music and legacy into a new generation’s collective memory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED’s Paloma Abarca and photographer Estefany Gonzalez stood witness in San Jose, meeting fans embracing their rekindled childhood memories through the iconic garb of \u003ca href=\"https://rebelde.fandom.com/wiki/Elite_Way_School\">Elite Way School\u003c/a>.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13936016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7711.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Cristal Monte, Jasmin Padilla, Rubi Montes and Katherine Cortez sport RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Padilla spend two days bedazzling her boots to dress up for the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7747.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Jimenez wears a handmade RBD-themed hat to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Romero (left) and Nathaly Esquivel stand in line to see RBD perform at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fan-photos_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adilene Garcia holds a sign reading “fan de corazon” (“fan from the heart”) at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936026\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Lombera wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936032\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7915.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy Torres wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936029\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7897.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Yvonne Martinez (left) and Heydi Martinez wear glittery eye make up to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7768.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nail technician Fernando Barron wears ‘Rebelde’-themed nails to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936018\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7724.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Diana Romero, Brenda Romero and Jessica Romero wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Romero spent more than a month customizing her blazer in time to wear it to the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Chavez (left) and Jocelyn Muñoz wear RBD outfits in honor of the uniform from Televisa’s telenovela ‘Rebelde.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936035\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7833.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Ochoa (left) and Anthony Briseño wear Rebelde Jerseys to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936034\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First-time concert attendees Jacob Andrade (left) and Jose Gonzales pose for a portrait at the SAP Center. “Its my first concert, so I’m excited. I’m reliving my childhood,” Andrade said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936020\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7752.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Claudia Jimenez (left) and Rosa Jimenez wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936037\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936028\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7883.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Sanchez wears a jeweled skirt to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The legendary Mexican pop group ignited nostalgic 2000s memories — and inspired dazzling fan outfits.",
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"description": "The legendary Mexican pop group ignited nostalgic 2000s memories — and inspired dazzling fan outfits.",
"title": "PHOTOS: RBD Fans Flock to San Jose's SAP Center for 'Rebelde' Memories | KQED",
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"headline": "RBD Fans Flock to San Jose's SAP Center for 'Rebelde' Reunion",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13936031\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7908.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7908-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Karina Guerrero traveled from Gonzales to attend the RBD concert at SAP Center on Friday, Oct. 6, 2023. Guerrero spent a week bedazzling her hat for the group’s reunion tour. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday night in San Jose, RBD devotees filled the SAP Center dressed to the T in bedazzled red blazers, crisp white button-ups, on-theme ties and denim.\u003c/p>\n\u003cp>The legendary Mexican pop group, who catapulted to fame in the 2000s via the wildly popular teen telenovela \u003cem>\u003ca href=\"https://tv.apple.com/us/show/rebelde/umc.cmc.2f8a7abumingof0h8j02li6kq\">Rebelde\u003c/a>\u003c/em>, launched their Soy Rebelde reunion tour in August, with 54 dates at stadiums and arenas spanning Brazil, Colombia, Mexico and the United States.\u003c/p>\n\u003cp>In San Jose, it was undeniable: RBD still has a grip on the hearts of millennials and Gen Zers alike.\u003c/p>\n\u003cfigure id=\"attachment_13936017\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7719.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936017\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7719-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Paulina Salinas and Miriam Salinas wait in line with friend Marlene Garibay to see RBD perform at SAP Center on Friday, Oct. 6, 2023. The three are long time RBD fans and have listened to the band since their high school days. “Ya estamos trentreinta-onas (we’re in our 30’s now,) but we’re still here,” Paula Salinas said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Members \u003ca href=\"https://www.instagram.com/dulcemaria/?hl=en\">Dulce María Espinoza\u003c/a>, \u003ca href=\"https://www.instagram.com/christianchavezreal/?hl=en\">Christian Chávez\u003c/a>, \u003ca href=\"https://www.instagram.com/maiteperroni/?hl=en\">Maite Perroni\u003c/a>, \u003ca href=\"https://www.instagram.com/anahi/?hl=en\">Anahí Puente\u003c/a> and \u003ca href=\"https://www.instagram.com/christophervuckermann/?hl=en\">Christopher von Uckermann\u003c/a> emerged on a floating circular platform that hovered to the center of the SAP stage. Together they ignited euphoric 2000s memories, transforming the arena’s giant screens into vortexes that took many back into their childhood.\u003c/p>\n\u003cp>For many, the show marked a first encounter with RBD outside the confines of a TV screen. An evening once spent glued to the sofa watching the telenovela, shared with family or close friends, had now transformed into a vibrant, shared spectacle.\u003c/p>\n\u003cfigure id=\"attachment_13936038\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez014-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a 15-year hiatus, RBD’s comeback is shaping up to be one of the biggest reunions in Latin music history — a profoundly nostalgic odyssey for steadfast fans that weaves their remarkable music and legacy into a new generation’s collective memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED’s Paloma Abarca and photographer Estefany Gonzalez stood witness in San Jose, meeting fans embracing their rekindled childhood memories through the iconic garb of \u003ca href=\"https://rebelde.fandom.com/wiki/Elite_Way_School\">Elite Way School\u003c/a>.\u003cem>—Paloma Abarca\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13936016\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7711.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7711-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Cristal Monte, Jasmin Padilla, Rubi Montes and Katherine Cortez sport RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Padilla spend two days bedazzling her boots to dress up for the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936019\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7747.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7747-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Claudia Jimenez wears a handmade RBD-themed hat to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Mayra-Romero-left-and-Nathaly-Esquivel-Estefany-Gonzalez001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Romero (left) and Nathaly Esquivel stand in line to see RBD perform at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Fan-photos_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Fan-photos_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Adilene Garcia holds a sign reading “fan de corazon” (“fan from the heart”) at SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936026\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7868.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7868-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mayra Lombera wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936032\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7915.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7915-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amy Torres wears a ‘Rebelde’-themed outfit to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936029\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7897.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936029\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7897-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Yvonne Martinez (left) and Heydi Martinez wear glittery eye make up to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7768.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7768-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nail technician Fernando Barron wears ‘Rebelde’-themed nails to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936018\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7724.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7724-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Diana Romero, Brenda Romero and Jessica Romero wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. Romero spent more than a month customizing her blazer in time to wear it to the RBD reunion concert. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936041\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Cynthia-Chavez-left-and-Jocelyn-Munoz_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Chavez (left) and Jocelyn Muñoz wear RBD outfits in honor of the uniform from Televisa’s telenovela ‘Rebelde.’ \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936035\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936024\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7833.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7833-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Ochoa (left) and Anthony Briseño wear Rebelde Jerseys to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936034\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936034\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Jacob-Andrade-left-and-Jose-Gonzales-_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">First-time concert attendees Jacob Andrade (left) and Jose Gonzales pose for a portrait at the SAP Center. “Its my first concert, so I’m excited. I’m reliving my childhood,” Andrade said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936020\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7752.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7752-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Claudia Jimenez (left) and Rosa Jimenez wear RBD-inspired looks outside of SAP Center on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936037\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936037\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RBD-performs-at-SAP-Center-in-San-Jose-on-Friday-Oct.-7-2023.-Estefany-Gonzalez010-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">RBD perform at SAP Center in San Jose on Friday, Oct. 7, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13936028\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/D7A7883.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13936028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/D7A7883-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Sanchez wears a jeweled skirt to the RBD reunion concert at SAP Center in San Jose on Friday, Oct. 6, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "denise-long-warriors-wnba",
"title": "In 1969, Years Before the WNBA, the Warriors Drafted Denise Long",
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"headTitle": "In 1969, Years Before the WNBA, the Warriors Drafted Denise Long | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>Editors Note\u003c/strong>: A version of this story originally appeared on The Bold Italic. \u003c/em>\u003c/p>\n\u003cp>[dropcap]U[/dropcap]nless you live under a Chase Center-sized rock, you’ve probably heard the news: the Bay Area is getting a WNBA expansion team.\u003c/p>\n\u003cp>As \u003ca href=\"https://theathletic.com/4902855/2023/09/26/warriors-wnba-bay-area/\">initially reported by Marcus Thompson\u003c/a>, the franchise will be the WNBA’s first expansion effort since 2008, and Northern California’s only professional women’s basketball squad since the Sacramento Monarchs folded in 2009.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13927875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Alan.Chazaro.headshot-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Alan.Chazaro.headshot-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Alan.Chazaro.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Acquired by Golden State Warriors co-owner Joe Lacob, the as-yet-unnamed Bay Area team will play in San Francisco and practice in Oakland. According to \u003ca href=\"https://www.espn.com/wnba/story/_/id/38574635/wnba-expansion-golden-state-warriors-everything-know\">ESPN’s extensive reporting\u003c/a>, WNBA commissioner Cathy Engelbert believes the Bay Area’s unique social, economic and technological intersections make it an ideal location for the league’s growth.\u003c/p>\n\u003cp>But for all the hoopla, this isn’t the first time women’s basketball has made waves in this region. In fact, the Bay has long been at the forefront — \u003ca href=\"https://www.mercurynews.com/2017/05/12/purdy-joe-lacob-lost-10-million-on-his-first-basketball-investment-and-has-no-regrets/\">Lacob himself was involved with the San Jose Lasers of the ABA\u003c/a>, a short-lived women’s league that launched in the same year as the WNBA but quickly fizzled out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if you want to go way back, you have to talk about Denise Long. In 1969, the Warriors — then known as the San Francisco Warriors — attempted to draft Long, a high school phenom from Iowa, to play alongside the men.\u003c/p>\n\u003cp>It may have been more of a sociological experiment than anything else. And perhaps it failed. But it indirectly led to one of the country’s first opportunities for women’s basketball in 1970, and paved the path for a women’s team to finally play here in 2023.\u003c/p>\n\u003cfigure id=\"attachment_13935982\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935982\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Long.MUNI_.jpg\" alt=\"\" width=\"838\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_.jpg 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_-800x1260.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_-768x1210.jpg 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">Denise Long appears in a public campaign for Muni shortly after arriving in San Francisco. \u003ccite>(SFMTA/Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Denise Long: The Longest Shot\u003c/h2>\n\u003cp>In the summer of ’69, the Milwaukee Bucks chose Lew Alcindor with the number one NBA draft pick. You may know Alcindor today as Kareem Abdul-Jabbar, a Hall of Famer with six championships who’s widely considered to be on basketball’s Mount Rushmore.\u003c/p>\n\u003cp>That same year, with the 175th pick in the 13th round, the Warriors chose a teenage player they felt could rewrite the rules of the game: Denise Long.\u003c/p>\n\u003cp>And just like that, Long became the first-ever woman to be picked up by an NBA team. Standing just 5’11”, the supercharged player from Union-Whitten High School became a regional legend after singlehandedly eclipsing the 100-point mark \u003cem>three times\u003c/em> in her young career. Locally televised games attracted as many as 3.5 million viewers. She packed small-town arenas whenever she played. In her senior year she averaged a total of 69 points per game — more than Kobe Bryant and Michael Jordan combined in any season they’ve played at any level.\u003c/p>\n\u003cp>\u003cem>Watch highlights from Long’s 56-point performance in the 1968 Girls State Tournament Finals, in which the Union-Whitten Cobras overcame the Everly Lady Cattle Feeders with a 113–107 overtime victory:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lf-0zuP18tQ\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>That’s when the Warriors eccentric owner, Franklin Mieuli, decided to break every convention known to basketball by \u003ca href=\"https://www.desmoinesregister.com/story/news/2019/06/17/nba-draft-how-iowa-basketball-star-denise-long-rife-made-history-golden-state-warriors-girls-6-on-6/1409879001/\">recruiting Long to play for his team\u003c/a> in the City by Bay. No one, Long included, expected it. In fact, the pick was so out of pocket that when Long was contacted about being drafted, she mistakenly thought she was being drafted by the military to serve in the Vietnam War.\u003c/p>\n\u003ch2>Almost no opportunities for women in basketball\u003c/h2>\n\u003cp>When she suddenly found herself interviewed about potentially playing in the NBA by Johnny Carson, \u003cem>The New York Times\u003c/em> and \u003cem>The Wall Street Journal\u003c/em>, she had to admit: She had never even heard of the Warriors.\u003c/p>\n\u003cp>“The only two NBA [teams] I really ever remember hearing was the Boston Celtics and the Los Angeles Lakers,” Long said in an interview, decades later, on the \u003ca href=\"https://podcasts.google.com/feed/aHR0cDovL21vb25saWdodGdyYWhhbXNob3cubGlic3luLmNvbS9yc3M/episode/ZjhhOWIzMGMtNGU4MS00Zjk0LTg5NmEtYjZmNzQ4OTU0Mjdi?hl=en&ved=2ahUKEwiOlsbpqq7vAhXTJzQIHT_0CN4QjrkEegQIBBAI&ep=6\">Moonlight Graham Show\u003c/a>.\u003c/p>\n\u003cp>That could be because, despite her eye-popping stats, virtually no opportunities existed for women players back then. A \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-02-10-sp-3529-story.html\">\u003cem>Los Angeles Times\u003c/em> story from 1985\u003c/a> noted a sad reality regarding Long’s career: “Without so much as a college scholarship to show for her achievements, without \u003ca href=\"https://www.gq.com/story/ann-meyers-drysdale-interview\">Title IX’s equal rights legislation\u003c/a> as a springboard, with no Olympic gold available and no place to play, the most prolific high school scorer this country has known put away her basketball and resolved to get on with her life.”\u003c/p>\n\u003cp>Still, she achieved the unthinkable by technically crossing over into the NBA, defined in those days by Abdul-Jabbar’s towering emergence, Walt Frazier’s silky smoothness and Wilt Chamberlain’s flagrant womanizing.\u003c/p>\n\u003cfigure id=\"attachment_13935983\" class=\"wp-caption alignnone\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Lasers.jpg\" alt=\"\" width=\"710\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Lasers.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Lasers-160x225.jpg 160w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">Promotional poster for the San Jose Lasers, a short-lived women’s team that had the involvement of current Warriors co-owner Joe Lacob. \u003ccite>(Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Warriors’ bold move to create genderless basketball was far ahead of its time — and still is. Walter Kennedy, the NBA commissioner at the time, \u003ca href=\"https://www.thedraftreview.com/index.php?option=com_content&view=article&id=3347&catid=638&Itemid=342\">immediately nullified the Warriors’ pick\u003c/a> before Long could even put on a game jersey. Long’s name fell out of conversation, and the NBA world kept spinning as usual.\u003c/p>\n\u003ch2>A women’s league at the Cow Palace\u003c/h2>\n\u003cp>To the credit of Long and Warriors owner Mieuli, they went ahead with a new game plan. Long migrated to the Bay Area, and Mieuli, an ever-flamboyant man of his word, paid for Long’s expenses while promoting her as the marquee talent of his new, soon-to-be-launched regional women’s league. (Mieuli even \u003ca href=\"https://medium.com/sportsraid/denise-long-the-story-of-the-nbas-first-female-draft-pick-6a57c2917829\">bought his unlikely basketball prodigy a purple Jaguar\u003c/a> as part of her star-treatment package).\u003c/p>\n\u003cp>The “Warrior Girls Basketball League” was among the \u003ca href=\"https://sports.yahoo.com/the-warriors-made-history-50-years-ago-when-they-drafted-denise-long-the-queen-of-6-on-6-184004158.html\">first organized adult leagues for women’s basketball\u003c/a> to have been played in the United States. Mieuli didn’t pay the players, so technically it was not a professional league. But he did offer a rare chance for women to showcase their skills for NBA fans who were already used to attending Warriors games at the Cow Palace. The four women’s teams would play in a junior varsity–style double header before the men’s teams came on later in the evenings.\u003c/p>\n\u003cfigure id=\"attachment_13935976\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/DeniseLong.2018-800x1236.jpg\" alt=\"\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-768x1186.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-1326x2048.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-scaled.jpg 1657w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denise Long makes some shots at the Warriors’ practice facility in Oakland during a 2018 visit. \u003ccite>(Michael Macor/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though highly imperfect, and by today’s standards demeaning, it proved an innovative attempt to expose Bay Area sports fans to something that, in 1971, the rest of the nation had basically no access to: post-college women’s basketball. Sadly, very little information exists about this amateur league. Online, there’s no video footage of it. But it was an important precursor to the WNBA, which wouldn’t arrive until 25 years later.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So as we all tune in to the arrival of a new WNBA team in the Bay Area in 2025, when that first swish causes Chase Center to erupt with long-awaited excitement, just remember everything it took to get there. Remember the Warriors and their unprecedented draft pick, and remember Denise Long.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editors Note\u003c/strong>: A version of this story originally appeared on The Bold Italic. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">U\u003c/span>\u003c/p>\u003cp>nless you live under a Chase Center-sized rock, you’ve probably heard the news: the Bay Area is getting a WNBA expansion team.\u003c/p>\n\u003cp>As \u003ca href=\"https://theathletic.com/4902855/2023/09/26/warriors-wnba-bay-area/\">initially reported by Marcus Thompson\u003c/a>, the franchise will be the WNBA’s first expansion effort since 2008, and Northern California’s only professional women’s basketball squad since the Sacramento Monarchs folded in 2009.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13927875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Alan.Chazaro.headshot-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Alan.Chazaro.headshot-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Alan.Chazaro.headshot.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Acquired by Golden State Warriors co-owner Joe Lacob, the as-yet-unnamed Bay Area team will play in San Francisco and practice in Oakland. According to \u003ca href=\"https://www.espn.com/wnba/story/_/id/38574635/wnba-expansion-golden-state-warriors-everything-know\">ESPN’s extensive reporting\u003c/a>, WNBA commissioner Cathy Engelbert believes the Bay Area’s unique social, economic and technological intersections make it an ideal location for the league’s growth.\u003c/p>\n\u003cp>But for all the hoopla, this isn’t the first time women’s basketball has made waves in this region. In fact, the Bay has long been at the forefront — \u003ca href=\"https://www.mercurynews.com/2017/05/12/purdy-joe-lacob-lost-10-million-on-his-first-basketball-investment-and-has-no-regrets/\">Lacob himself was involved with the San Jose Lasers of the ABA\u003c/a>, a short-lived women’s league that launched in the same year as the WNBA but quickly fizzled out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if you want to go way back, you have to talk about Denise Long. In 1969, the Warriors — then known as the San Francisco Warriors — attempted to draft Long, a high school phenom from Iowa, to play alongside the men.\u003c/p>\n\u003cp>It may have been more of a sociological experiment than anything else. And perhaps it failed. But it indirectly led to one of the country’s first opportunities for women’s basketball in 1970, and paved the path for a women’s team to finally play here in 2023.\u003c/p>\n\u003cfigure id=\"attachment_13935982\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935982\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Long.MUNI_.jpg\" alt=\"\" width=\"838\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_.jpg 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_-800x1260.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_-160x252.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Long.MUNI_-768x1210.jpg 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">Denise Long appears in a public campaign for Muni shortly after arriving in San Francisco. \u003ccite>(SFMTA/Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Denise Long: The Longest Shot\u003c/h2>\n\u003cp>In the summer of ’69, the Milwaukee Bucks chose Lew Alcindor with the number one NBA draft pick. You may know Alcindor today as Kareem Abdul-Jabbar, a Hall of Famer with six championships who’s widely considered to be on basketball’s Mount Rushmore.\u003c/p>\n\u003cp>That same year, with the 175th pick in the 13th round, the Warriors chose a teenage player they felt could rewrite the rules of the game: Denise Long.\u003c/p>\n\u003cp>And just like that, Long became the first-ever woman to be picked up by an NBA team. Standing just 5’11”, the supercharged player from Union-Whitten High School became a regional legend after singlehandedly eclipsing the 100-point mark \u003cem>three times\u003c/em> in her young career. Locally televised games attracted as many as 3.5 million viewers. She packed small-town arenas whenever she played. In her senior year she averaged a total of 69 points per game — more than Kobe Bryant and Michael Jordan combined in any season they’ve played at any level.\u003c/p>\n\u003cp>\u003cem>Watch highlights from Long’s 56-point performance in the 1968 Girls State Tournament Finals, in which the Union-Whitten Cobras overcame the Everly Lady Cattle Feeders with a 113–107 overtime victory:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lf-0zuP18tQ'\n title='//www.youtube.com/embed/lf-0zuP18tQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>That’s when the Warriors eccentric owner, Franklin Mieuli, decided to break every convention known to basketball by \u003ca href=\"https://www.desmoinesregister.com/story/news/2019/06/17/nba-draft-how-iowa-basketball-star-denise-long-rife-made-history-golden-state-warriors-girls-6-on-6/1409879001/\">recruiting Long to play for his team\u003c/a> in the City by Bay. No one, Long included, expected it. In fact, the pick was so out of pocket that when Long was contacted about being drafted, she mistakenly thought she was being drafted by the military to serve in the Vietnam War.\u003c/p>\n\u003ch2>Almost no opportunities for women in basketball\u003c/h2>\n\u003cp>When she suddenly found herself interviewed about potentially playing in the NBA by Johnny Carson, \u003cem>The New York Times\u003c/em> and \u003cem>The Wall Street Journal\u003c/em>, she had to admit: She had never even heard of the Warriors.\u003c/p>\n\u003cp>“The only two NBA [teams] I really ever remember hearing was the Boston Celtics and the Los Angeles Lakers,” Long said in an interview, decades later, on the \u003ca href=\"https://podcasts.google.com/feed/aHR0cDovL21vb25saWdodGdyYWhhbXNob3cubGlic3luLmNvbS9yc3M/episode/ZjhhOWIzMGMtNGU4MS00Zjk0LTg5NmEtYjZmNzQ4OTU0Mjdi?hl=en&ved=2ahUKEwiOlsbpqq7vAhXTJzQIHT_0CN4QjrkEegQIBBAI&ep=6\">Moonlight Graham Show\u003c/a>.\u003c/p>\n\u003cp>That could be because, despite her eye-popping stats, virtually no opportunities existed for women players back then. A \u003ca href=\"https://www.latimes.com/archives/la-xpm-1985-02-10-sp-3529-story.html\">\u003cem>Los Angeles Times\u003c/em> story from 1985\u003c/a> noted a sad reality regarding Long’s career: “Without so much as a college scholarship to show for her achievements, without \u003ca href=\"https://www.gq.com/story/ann-meyers-drysdale-interview\">Title IX’s equal rights legislation\u003c/a> as a springboard, with no Olympic gold available and no place to play, the most prolific high school scorer this country has known put away her basketball and resolved to get on with her life.”\u003c/p>\n\u003cp>Still, she achieved the unthinkable by technically crossing over into the NBA, defined in those days by Abdul-Jabbar’s towering emergence, Walt Frazier’s silky smoothness and Wilt Chamberlain’s flagrant womanizing.\u003c/p>\n\u003cfigure id=\"attachment_13935983\" class=\"wp-caption alignnone\" style=\"max-width: 710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935983\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Lasers.jpg\" alt=\"\" width=\"710\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Lasers.jpg 710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Lasers-160x225.jpg 160w\" sizes=\"(max-width: 710px) 100vw, 710px\">\u003cfigcaption class=\"wp-caption-text\">Promotional poster for the San Jose Lasers, a short-lived women’s team that had the involvement of current Warriors co-owner Joe Lacob. \u003ccite>(Internet Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Warriors’ bold move to create genderless basketball was far ahead of its time — and still is. Walter Kennedy, the NBA commissioner at the time, \u003ca href=\"https://www.thedraftreview.com/index.php?option=com_content&view=article&id=3347&catid=638&Itemid=342\">immediately nullified the Warriors’ pick\u003c/a> before Long could even put on a game jersey. Long’s name fell out of conversation, and the NBA world kept spinning as usual.\u003c/p>\n\u003ch2>A women’s league at the Cow Palace\u003c/h2>\n\u003cp>To the credit of Long and Warriors owner Mieuli, they went ahead with a new game plan. Long migrated to the Bay Area, and Mieuli, an ever-flamboyant man of his word, paid for Long’s expenses while promoting her as the marquee talent of his new, soon-to-be-launched regional women’s league. (Mieuli even \u003ca href=\"https://medium.com/sportsraid/denise-long-the-story-of-the-nbas-first-female-draft-pick-6a57c2917829\">bought his unlikely basketball prodigy a purple Jaguar\u003c/a> as part of her star-treatment package).\u003c/p>\n\u003cp>The “Warrior Girls Basketball League” was among the \u003ca href=\"https://sports.yahoo.com/the-warriors-made-history-50-years-ago-when-they-drafted-denise-long-the-queen-of-6-on-6-184004158.html\">first organized adult leagues for women’s basketball\u003c/a> to have been played in the United States. Mieuli didn’t pay the players, so technically it was not a professional league. But he did offer a rare chance for women to showcase their skills for NBA fans who were already used to attending Warriors games at the Cow Palace. The four women’s teams would play in a junior varsity–style double header before the men’s teams came on later in the evenings.\u003c/p>\n\u003cfigure id=\"attachment_13935976\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13935976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/DeniseLong.2018-800x1236.jpg\" alt=\"\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-768x1186.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-994x1536.jpg 994w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-1326x2048.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DeniseLong.2018-scaled.jpg 1657w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denise Long makes some shots at the Warriors’ practice facility in Oakland during a 2018 visit. \u003ccite>(Michael Macor/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though highly imperfect, and by today’s standards demeaning, it proved an innovative attempt to expose Bay Area sports fans to something that, in 1971, the rest of the nation had basically no access to: post-college women’s basketball. Sadly, very little information exists about this amateur league. Online, there’s no video footage of it. But it was an important precursor to the WNBA, which wouldn’t arrive until 25 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So as we all tune in to the arrival of a new WNBA team in the Bay Area in 2025, when that first swish causes Chase Center to erupt with long-awaited excitement, just remember everything it took to get there. Remember the Warriors and their unprecedented draft pick, and remember Denise Long.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Arrest Made in Tupac Shakur’s 1996 Killing; Man Tied to Suspected Shooter, Sources Say",
"headTitle": "Arrest Made in Tupac Shakur’s 1996 Killing; Man Tied to Suspected Shooter, Sources Say | KQED",
"content": "\u003cp>Las Vegas police have arrested a man in the deadly 1996 drive-by shooting of \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, a long-awaited break in a case that has frustrated investigators and fascinated the public ever since the hip-hop icon was gunned down on the Las Vegas Strip 27 years ago.\u003c/p>\n\u003cp>Duane “Keffe D” Davis was arrested early Friday morning, although the exact charge or charges were not immediately clear, according to two officials with first-hand knowledge of the arrest. They were not authorized to speak publicly ahead of an expected indictment later Friday.\u003c/p>\n\u003cp>Davis has long been known to investigators and has himself admitted in interviews and in his 2019 tell-all memoir, \u003cem>Compton Street Legend\u003c/em>, that he was in the Cadillac where the gunfire erupted during the September 1996 drive-by shooting. Shakur was 25 when he was gunned down.\u003c/p>\n\u003cp>[aside postid='arts_13929233']The arrest comes two months after Las Vegas police raided his wife’s home July 17 in neighboring Henderson. Documents said police were looking for items “concerning the murder of Tupac Shakur.”\u003c/p>\n\u003cp>Police reported collecting multiple computers, a cellphone and hard drive, a Vibe magazine that featured Shakur, several .40-caliber bullets, two “tubs containing photographs” and a copy of Davis’ 2019 memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the book, Davis said he broke his silence over Tupac’s killing in 2010 during a closed-door meeting with federal and local authorities. At the time, he was 46 and facing life in prison on drug charges when he agreed to speak with the authorities.\u003c/p>\n\u003cp>“They promised they would shred the indictment and stop the grand jury if I helped them out,” he wrote.\u003c/p>\n\u003cp>He has described himself as one of the last living witnesses to the shooting.\u003c/p>\n\u003cp>Shakur was 25 when he was gunned down in a drive-by shooting near the Las Vegas Strip on the night of Sept. 7, 1996. The rapper was in a BMW driven by Death Row Records founder Marion “Suge” Knight in a convoy of about 10 cars. They were waiting at a red light when a white Cadillac pulled up next to them and gunfire erupted.\u003c/p>\n\u003cp>Shakur was shot multiple times and died a week later.\u003c/p>\n\u003cp>In 2018, after a cancer diagnosis, Davis admitted publicly in an interview for a BET show to being inside the Cadillac during the attack. He implicated his nephew, Orlando “Baby Lane” Anderson, saying he was one of two people in the back seat where the shots were fired.\u003c/p>\n\u003cp>The shooting happened shortly after a casino brawl earlier in the evening involving Anderson, Shakur and others.\u003c/p>\n\u003cp>[aside postid='pop_23762']Anderson denied any involvement in the Shakur shooting. He died two years later in a shooting in Compton, California.\u003c/p>\n\u003cp>Shakur’s death came as his fourth solo album, \u003cem>All Eyez on Me\u003c/em>, remained on the charts, with some 5 million copies sold. Nominated six times for a Grammy Award, Shakur is largely considered one of the most influential and versatile rappers of all time.\u003c/p>\n\u003cp>Shakur was feuding at the time with rap rival Biggie Smalls, also known as the Notorious B.I.G., who was fatally shot in March 1997. At the time, both rappers were in the middle of an East Coast-West Coast rivalry that primarily defined the hip-hop scene during the mid-1990s.\u003c/p>\n\u003cp>Shakur was born in East Harlem, New York. The animated, politically active son of Black Panther activist Afeni Shakur, he lived in Marin City and attended Tamalpais High School as a teenager. Shortly thereafter he moved to Oakland, joined the group Digital Underground and released his first album, \u003cem>2Pacalypse Now\u003c/em>. The City of Oakland recently voted to \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\">rename a portion of MacArthur Boulevard in his honor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13929237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Tupac.Square.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Tupac.Square-800x800.jpg\" alt=\"rapper Tupac in a black and white photo\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square.jpg 1716w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur pictured in Oakland in 1992. The rap icon had an Oakland street renamed in his honor earlier this year. \u003ccite>(Gary Reyes / Oakland Tribune Staff Archives (MediaNews Group/Bay Area News via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greg Kading, a retired Los Angeles police detective who spent years investigating the Shakur killing and wrote a book about it, said he would not be surprised by Davis’s indictment and arrest.\u003c/p>\n\u003cp>“It’s so long overdue,” Kading told The Associated Press during a recent interview. “People have been yearning for him to be arrested for a long time. It’s never been unsolved in our minds. It’s been unprosecuted.”\u003c/p>\n\u003cp>Kading said he interviewed Davis in 2008 and 2009, during Los Angeles police investigations of the killings of Shakur in Las Vegas and the slaying of Biggie Smalls.\u003c/p>\n\u003cp>[aside postid='arts_11696060']Kading said also that he talked with a Las Vegas police detective about the case, including after the SWAT raid in July at the home in Henderson.\u003c/p>\n\u003cp>The former Los Angeles police detective said he believed the investigation gained new momentum in recent years following Davis’s public descriptions of his role in the killing, including his 2019 memoir.\u003c/p>\n\u003cp>“It’s those events that have given Las Vegas the ammunition and the leverage to move forward,” Kading said. “Prior to Keefe D’s public declarations, the cases were unprosecutable as they stood.”\u003c/p>\n\u003cp>“He put himself squarely in the middle of the conspiracy,” Kading said of Davis and the Shakur slaying. “He had acquired the gun, he had given the gun to the shooter and he had been present in the vehicle when they hunted down and located both Tupac and Suge (Knight).”\u003c/p>\n\u003cp>Kading noted that Davis is the last living person among the four people who were in the vehicle from which shots were fired at Shakur and rapper Marion “Suge” Knight. Others were Davis’s nephew, Orlando “Baby Lane” Anderson, Terrence “Bubble Up” Brown and DeAndre “Freaky” Smith.\u003c/p>\n\u003cp>“It’s a concerted effort of conspirators,” Kading said, adding that he believed that because the killing was premeditated Davis could face a first-degree murder charge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All the other direct conspirators or participants are all dead,” Kading said. “Keefe D is the last man standing among the individuals that conspired to kill Tupac.”\u003c/p>\n\n",
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"excerpt": "Duane ‘Keffe D’ Davis was arrested Friday morning in Las Vegas, a long-awaited break in the 27-year-old case.",
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"description": "Duane ‘Keffe D’ Davis was arrested Friday morning in Las Vegas, a long-awaited break in the 27-year-old case.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Las Vegas police have arrested a man in the deadly 1996 drive-by shooting of \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a>, a long-awaited break in a case that has frustrated investigators and fascinated the public ever since the hip-hop icon was gunned down on the Las Vegas Strip 27 years ago.\u003c/p>\n\u003cp>Duane “Keffe D” Davis was arrested early Friday morning, although the exact charge or charges were not immediately clear, according to two officials with first-hand knowledge of the arrest. They were not authorized to speak publicly ahead of an expected indictment later Friday.\u003c/p>\n\u003cp>Davis has long been known to investigators and has himself admitted in interviews and in his 2019 tell-all memoir, \u003cem>Compton Street Legend\u003c/em>, that he was in the Cadillac where the gunfire erupted during the September 1996 drive-by shooting. Shakur was 25 when he was gunned down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The arrest comes two months after Las Vegas police raided his wife’s home July 17 in neighboring Henderson. Documents said police were looking for items “concerning the murder of Tupac Shakur.”\u003c/p>\n\u003cp>Police reported collecting multiple computers, a cellphone and hard drive, a Vibe magazine that featured Shakur, several .40-caliber bullets, two “tubs containing photographs” and a copy of Davis’ 2019 memoir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the book, Davis said he broke his silence over Tupac’s killing in 2010 during a closed-door meeting with federal and local authorities. At the time, he was 46 and facing life in prison on drug charges when he agreed to speak with the authorities.\u003c/p>\n\u003cp>“They promised they would shred the indictment and stop the grand jury if I helped them out,” he wrote.\u003c/p>\n\u003cp>He has described himself as one of the last living witnesses to the shooting.\u003c/p>\n\u003cp>Shakur was 25 when he was gunned down in a drive-by shooting near the Las Vegas Strip on the night of Sept. 7, 1996. The rapper was in a BMW driven by Death Row Records founder Marion “Suge” Knight in a convoy of about 10 cars. They were waiting at a red light when a white Cadillac pulled up next to them and gunfire erupted.\u003c/p>\n\u003cp>Shakur was shot multiple times and died a week later.\u003c/p>\n\u003cp>In 2018, after a cancer diagnosis, Davis admitted publicly in an interview for a BET show to being inside the Cadillac during the attack. He implicated his nephew, Orlando “Baby Lane” Anderson, saying he was one of two people in the back seat where the shots were fired.\u003c/p>\n\u003cp>The shooting happened shortly after a casino brawl earlier in the evening involving Anderson, Shakur and others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anderson denied any involvement in the Shakur shooting. He died two years later in a shooting in Compton, California.\u003c/p>\n\u003cp>Shakur’s death came as his fourth solo album, \u003cem>All Eyez on Me\u003c/em>, remained on the charts, with some 5 million copies sold. Nominated six times for a Grammy Award, Shakur is largely considered one of the most influential and versatile rappers of all time.\u003c/p>\n\u003cp>Shakur was feuding at the time with rap rival Biggie Smalls, also known as the Notorious B.I.G., who was fatally shot in March 1997. At the time, both rappers were in the middle of an East Coast-West Coast rivalry that primarily defined the hip-hop scene during the mid-1990s.\u003c/p>\n\u003cp>Shakur was born in East Harlem, New York. The animated, politically active son of Black Panther activist Afeni Shakur, he lived in Marin City and attended Tamalpais High School as a teenager. Shortly thereafter he moved to Oakland, joined the group Digital Underground and released his first album, \u003cem>2Pacalypse Now\u003c/em>. The City of Oakland recently voted to \u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\">rename a portion of MacArthur Boulevard in his honor\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13929237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Tupac.Square.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Tupac.Square-800x800.jpg\" alt=\"rapper Tupac in a black and white photo\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Tupac.Square.jpg 1716w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tupac Shakur pictured in Oakland in 1992. The rap icon had an Oakland street renamed in his honor earlier this year. \u003ccite>(Gary Reyes / Oakland Tribune Staff Archives (MediaNews Group/Bay Area News via Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greg Kading, a retired Los Angeles police detective who spent years investigating the Shakur killing and wrote a book about it, said he would not be surprised by Davis’s indictment and arrest.\u003c/p>\n\u003cp>“It’s so long overdue,” Kading told The Associated Press during a recent interview. “People have been yearning for him to be arrested for a long time. It’s never been unsolved in our minds. It’s been unprosecuted.”\u003c/p>\n\u003cp>Kading said he interviewed Davis in 2008 and 2009, during Los Angeles police investigations of the killings of Shakur in Las Vegas and the slaying of Biggie Smalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kading said also that he talked with a Las Vegas police detective about the case, including after the SWAT raid in July at the home in Henderson.\u003c/p>\n\u003cp>The former Los Angeles police detective said he believed the investigation gained new momentum in recent years following Davis’s public descriptions of his role in the killing, including his 2019 memoir.\u003c/p>\n\u003cp>“It’s those events that have given Las Vegas the ammunition and the leverage to move forward,” Kading said. “Prior to Keefe D’s public declarations, the cases were unprosecutable as they stood.”\u003c/p>\n\u003cp>“He put himself squarely in the middle of the conspiracy,” Kading said of Davis and the Shakur slaying. “He had acquired the gun, he had given the gun to the shooter and he had been present in the vehicle when they hunted down and located both Tupac and Suge (Knight).”\u003c/p>\n\u003cp>Kading noted that Davis is the last living person among the four people who were in the vehicle from which shots were fired at Shakur and rapper Marion “Suge” Knight. Others were Davis’s nephew, Orlando “Baby Lane” Anderson, Terrence “Bubble Up” Brown and DeAndre “Freaky” Smith.\u003c/p>\n\u003cp>“It’s a concerted effort of conspirators,” Kading said, adding that he believed that because the killing was premeditated Davis could face a first-degree murder charge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All the other direct conspirators or participants are all dead,” Kading said. “Keefe D is the last man standing among the individuals that conspired to kill Tupac.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How San Francisco Punk Reacted to Dianne Feinstein in the 1970s",
"headTitle": "How San Francisco Punk Reacted to Dianne Feinstein in the 1970s | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jvjpoy0q66w\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9lmj8fO64k\u003c/p>\n\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Historian Michael Stewart Foley discusses the effects of Dianne Feinstein's rise to power on the San Francisco punk scene. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jvjpoy0q66w'\n title='//www.youtube.com/embed/jvjpoy0q66w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D9lmj8fO64k'\n title='//www.youtube.com/embed/D9lmj8fO64k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After bringing glory to the Bay Area on the basketball court, Steph Curry announced Thursday that he’s producing a documentary that will uplift the legacy of one of the region’s cultural heroes: Mac Dre.\u003c/p>\n\u003cp>[aside label='More on Mac Dre' postid='news_11954252,arts_13930686,arts_13924109']Known for his eccentric party anthems — “Feelin’ Myself,” “Get Stupid,” “Thizzle Dance” — and colorful personas, the Vallejo MC inspired the \u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">hyphy movement\u003c/a>, and his legend has only grown since his death in a Kansas City shooting in 2004. Mac Dre’s image has been enshrined in murals, tattoos and countless airbrushed T-shirts. And though his legacy tends to go underappreciated outside of the \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> scene, Mac Dre is a rapper’s rapper, and countless artists, including Yo Gotti and Drake, have shouted out his influence.\u003c/p>\n\u003cp>The announcement arrives as Curry continues to grow his presence in television and entertainment. He has over a dozen producer credits to his name, and tends to select projects that celebrate Black Americans’ contributions to culture and sports, including the 2023 E series \u003ca href=\"https://www.eonline.com/shows/black_pop\">\u003cem>Black Pop\u003c/em>\u003c/a> and ESPN’s \u003ca href=\"https://espnpressroom.com/us/press-releases/2023/08/why-not-us-howard-golf-produced-by-andscape-and-stephen-currys-unanimous-media/\">\u003cem>Why Not Us: Howard Golf\u003c/em>\u003c/a>. Earlier this year, he was the subject of the acclaimed Apple TV+ documentary, \u003ca href=\"https://www.kqed.org/arts/13927474/stephen-curry-underrated-documentary-peter-nicks\">\u003cem>Stephen Curry: Underrated\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>A documentary about Mac Dre, whose story has underdog appeal, seems fitting for a star athlete who was once underestimated himself. Curry, his Unanimous Media co-founder Erick Peyton and executive producer Brian Tetsuro Ivie are collaborating with Mac Dre’s mother and head of his estate, Wanda Salvatto, on the project.\u003c/p>\n\u003cfigure id=\"attachment_13924556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg\" alt=\"a spraypainted mural of the rap artist mac dre\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Mac Dre mural on Foothill Boulevard in Oakland by artist Chez. \u003ccite>(Laurence Madrigal/We Were Hyphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I look forward to sharing how from Andre’s dreams of rapping emerged a blueprint that not only inspired a generation but also became a guide to conquering obstacles and fulfilling their entrepreneurial dreams,” Salvatto \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/mac-dre-documentary-stephen-curry-1235427714/\">told \u003cem>Billboard\u003c/em>\u003c/a>, who broke the news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mac Dre is also the subject of a recent Salvatto-approved biography, \u003ca href=\"https://www.barnesandnoble.com/w/mac-dre-donald-morrison/1143893886\">\u003cem>Mac Dre: A Crime That Was Never Committed\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Known for his eccentric party anthems — “Feelin’ Myself,” “Get Stupid,” “Thizzle Dance” — and colorful personas, the Vallejo MC inspired the \u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">hyphy movement\u003c/a>, and his legend has only grown since his death in a Kansas City shooting in 2004. Mac Dre’s image has been enshrined in murals, tattoos and countless airbrushed T-shirts. And though his legacy tends to go underappreciated outside of the \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> scene, Mac Dre is a rapper’s rapper, and countless artists, including Yo Gotti and Drake, have shouted out his influence.\u003c/p>\n\u003cp>The announcement arrives as Curry continues to grow his presence in television and entertainment. He has over a dozen producer credits to his name, and tends to select projects that celebrate Black Americans’ contributions to culture and sports, including the 2023 E series \u003ca href=\"https://www.eonline.com/shows/black_pop\">\u003cem>Black Pop\u003c/em>\u003c/a> and ESPN’s \u003ca href=\"https://espnpressroom.com/us/press-releases/2023/08/why-not-us-howard-golf-produced-by-andscape-and-stephen-currys-unanimous-media/\">\u003cem>Why Not Us: Howard Golf\u003c/em>\u003c/a>. Earlier this year, he was the subject of the acclaimed Apple TV+ documentary, \u003ca href=\"https://www.kqed.org/arts/13927474/stephen-curry-underrated-documentary-peter-nicks\">\u003cem>Stephen Curry: Underrated\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>A documentary about Mac Dre, whose story has underdog appeal, seems fitting for a star athlete who was once underestimated himself. Curry, his Unanimous Media co-founder Erick Peyton and executive producer Brian Tetsuro Ivie are collaborating with Mac Dre’s mother and head of his estate, Wanda Salvatto, on the project.\u003c/p>\n\u003cfigure id=\"attachment_13924556\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg\" alt=\"a spraypainted mural of the rap artist mac dre\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/MacDre.chez_.featured-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Mac Dre mural on Foothill Boulevard in Oakland by artist Chez. \u003ccite>(Laurence Madrigal/We Were Hyphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I look forward to sharing how from Andre’s dreams of rapping emerged a blueprint that not only inspired a generation but also became a guide to conquering obstacles and fulfilling their entrepreneurial dreams,” Salvatto \u003ca href=\"https://www.billboard.com/music/rb-hip-hop/mac-dre-documentary-stephen-curry-1235427714/\">told \u003cem>Billboard\u003c/em>\u003c/a>, who broke the news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Over 75 clubs operated by Live Nation in the United States and Canada will stop taking a percentage of artist merch sales, and will pay performers an additional $1,500 travel stipend per concert, through an initiative called \u003ca href=\"https://roadagain.live/\">On the Road Again\u003c/a>, the company announced Tuesday.\u003c/p>\n\u003cp>In the Bay Area, only one Live Nation venue is included in the program: \u003ca href=\"https://www.livenation.com/venue/KovZpZAE6eeA/the-fillmore-events\">The Fillmore\u003c/a>, the historic, 1,315-capacity concert hall. For over 30 years, artists playing at The Fillmore “counted in” their T-shirts, albums and other merch, and, at the end of the show, “counted out” so the club could tally the night’s income and calculate the amount of profit to take.\u003c/p>\n\u003cp>\u003ca href=\"https://weareumaw.org/\">United Musicians and Allied Workers\u003c/a> (UMAW), an artist advocacy group, says it’s common for venues to take 15%-35% of merch sales, and some artists have reported fees as high as 40% at recent shows. [aside postid='arts_13857471']\u003c/p>\n\u003cp>On the Road Again also promises bonuses for tour staff and local promoters, and will contribute $5 million to Crew Nation, a global relief fund for live music crews facing hardship. Additional Live Nation venues in the Bay Area, including the Masonic, are not listed as participants. Statewide, 14 similarly sized clubs are included in the program, including The Wiltern in Los Angeles and Ace of Spades in Sacramento.\u003c/p>\n\u003cp>The initiative arrives at a challenging time for artists in today’s music industry, where visibility and acclaim do not translate to financial success. While Spotify and other streaming services pay \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">fractions of pennies per stream\u003c/a>, touring and merch sales have become the primary source of income for emerging and mid-level musicians. After a pandemic that decimated live concerts, artists have struggled to rebound due to inflation and high gas prices.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>[aside postid='arts_13934286']Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>[aside postid='forum_2010101892062']“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s almost impossible to even break even as a touring artist at this level,” says San Francisco singer and multi-instrumentalist \u003ca href=\"https://www.ladona415.com/\">La Doña\u003c/a>, whose upcoming tour includes a hometown show at \u003ca href=\"https://concerts.livenation.com/la-dona-san-francisco-california-11-09-2023/event/1C005F0FC26A52EC\">The Fillmore on Nov. 9\u003c/a>, as well as shows at participating clubs in Los Angeles and Santa Ana. She says her expenses include hiring a live band, merch handler and photographer, and paying for gas, touring vehicles and lodging. While La Doña handles many business aspects of her tour herself, it’s common for artists to pay booking agents, tour managers and publicists. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“O\u003c/span>ftentimes you can’t really get an offer that will support all of that,” she says. “Most artists \u003cspan style=\"font-weight: 400\">—\u003c/span> I know I do \u003cspan style=\"font-weight: 400\">—\u003c/span> usually end up paying out of pocket to go on tour, which is why you don’t do it very much.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For La Doña, merch sales are critical, and can account for up to a third of the money made each night. She hopes that On the Road Again will inspire more venues to let artists keep the profits from their merch tables, which would allow more diverse acts to succeed in the industry. “Y\u003c/span>ou don’t really get to see some of the best and most interesting musicians live because it’s tough to be on the road,” she notes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some artists say that the economics of the industry have brought them close to quitting altogether. “You are either losing money, breaking even or coming home with such a little amount of money for such a big amount of work,” said Bethany Cosentino of Best Coast in a \u003ca href=\"https://www.tiktok.com/@bethanycosentino/video/7278097326621592878?lang=en\">TikTok video posted on Sept. 12\u003c/a>. “Most days I wake up and I question why I’m still even in this industry. There is no stability.”\u003c/p>\n\u003cp>In 2022, UMAW launched a campaign called \u003ca href=\"https://weareumaw.org/news/mymerch-campaign-launch\">#MyMerch\u003c/a>, through which 160 venues have so far pledged to stop charging artists for merch sales. Many of the venues who signed up for UMAW’s campaign are small businesses also struggling in the post-pandemic economy, such as the \u003ca href=\"https://mystictheatre.com/\">Mystic Theatre\u003c/a> in Petaluma, \u003ca href=\"https://www.cornerstoneberkeley.com/\">Cornerstone\u003c/a> in Berkeley and \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.P2XVsKmY.dpbs\">Bottom of the Hill\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Meanwhile, Live Nation — a global conglomerate that owns Ticketmaster, whose ticket fees have ballooned to record levels — reported in July that its revenue is up 27% this year, reaching $5.6 billion at the end of the most recent financial quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“This was our strongest second quarter ever, with 2023 on pace to be a record year, and early indicators for 2024 giving us confidence in continued growth,” said Live Nation Entertainment CEO and President Michael Rapino in a report to investors. (Rapino’s own total compensation for 2022 totaled $139 million.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In other words, live music is clearly profitable — but artists aren’t seeing the payoff. New policies at clubs like the Fillmore could be the start of a change small musicians are asking for. “We hope that more [Live Nation] venues (especially small ones) will join the On the Road Again program,” UMAW wrote in an Instagram post on Tuesday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In the Steve Jobs Opera, 'Genius' Remains Inscrutable",
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"content": "\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>[aside postID='news_11572666']This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>[aside postID='arts_13921616']Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you hear the words “\u003ca href=\"https://www.kqed.org/arts/tag/steve-jobs-opera\">Steve Jobs opera\u003c/a>” and think, “great, a patently desperate attempt to attract tech donors to the arts by presenting a commercial for Apple that fawns over its billionaire CEO,” I am happy to report that you are wrong. \u003c/p>\n\u003cp>\u003cem>The (R)evolution of Steve Jobs\u003c/em>, running at the War Memorial Opera House now through Oct. 7, is remarkably enjoyable, and not at all a rose-tinted portrait. It’s also a perfect introduction for people who’ve never been to the opera: It’s shorter than your average Hollywood blockbuster, it’s sung in English and it’s about a device which \u003ca href=\"https://deviceatlas.com/blog/mobile-os-popularity-by-us-state\">two-thirds of all California residents\u003c/a> carry in their pocket. Bring the kids — I did. \u003c/p>\n\u003cp>I also admit I approached \u003cem>The (R)evolution of Steve Jobs\u003c/em> with some skepticism. Its composer, Burlingame’s own \u003ca href=\"https://www.kqed.org/arts/11525582/meet-mason-bates-the-man-behind-steve-jobs-the-opera\">Mason Bates\u003c/a>, has enjoyed patronage from tech giants like Cisco and Google, and has written such silicon-themed works as \u003cem>The Rise of Exotic Computing\u003c/em> and \u003cem>Garages of the Valley\u003c/em>. Who better to attract the tech sector, which has historically declined to support arts organizations like the opera? And would that require glossing over Jobs’ abusive tendencies, and celebrating rather than criticizing the far-reaching and detrimental transformations brought by the iPhone?\u003c/p>\n\u003cfigure id=\"attachment_13935377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3018.jpg\" alt=\"A man in a black turtleneck and jeans looks forward and to the right while holding a phone, against a backdrop of app icons\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13935377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3018-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, announcing the iPhone in San Francisco at MacWorld in 2007, in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, \u003cem>The (R)evolution of Steve Jobs\u003c/em> — finally seeing its Bay Area premiere after runs in seven other cities – directly addresses Jobs’ denial of his first child and his cruelty to her mother. It shows Jobs yelling at staff, demanding impossible deadlines. It depicts a man who sought inner peace for himself while haranguing those around him, and connected with nature while creating an addictive device that would distance much of humanity from it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This dark truth-telling is accompanied by Bates’ bright, modern-but-accessible music, with cosmopolitan chords, Steve Reichian pulses and Bernstein-esque jazz. At times, this blends pleasantly with subtle computer sounds (we are spared the cliché of the dial-up modem, thank goodness) as well as sub-bass rolling around the Opera House, played from a laptop by Bates himself in the orchestra pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>(R)evolution\u003c/em> starts amidst towers luminescent in Apple white. After a prologue of young Jobs tinkering with gadgets in the family garage, the scene jumps to the announcement of the iPhone at MacWorld 2007. Jobs (John Moore, resolute and commanding) stands before app icons projected on a large touchscreen. The crowd leans in with anticipation as the music swells, and Jobs hoists in the air “one device / does it all / in one hand / all you need.”\u003c/p>\n\u003cfigure id=\"attachment_13935376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3265.jpg\" alt=\"A man in a black turtleneck and jeans plays on a rotary phone with a man in scruffy hair, beard and yellow shirt at a workbench\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3265-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bille Bruley as Steve Wozniak and John Moore as Steve Jobs, hacking into an international phone line in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Numerous reality checks eventually arrive. Some come from the people who love him most: Apple co-founder Steve Wozniak (played with humor and personality by Bille Bruley), Jobs’ spiritual mentor Kobōn Chino Otogawa (Wei Wu, with gut-rattling bass and dry wit) and Laurene Powell Jobs (the excellent Sasha Cooke, doing her best with the character as written). \u003c/p>\n\u003cp>A nonlinear biographical highlight reel presents the origins of Jobs’ defining device. (The libretto, by Mark Campbell, does not use the word “iPhone.”) We see him taking LSD with his girlfriend Chrisann Brennan and perceiving the brilliance of natural design. We watch as he and Wozniak hack Pacific Bell with their homemade phone technology. We hear his college calligraphy teacher talk of simplicity, simplicity, simplicity. \u003c/p>\n\u003cp>We also witness his cruelty. He fathers a child with Chrisann, demands an abortion, then denies it’s his. “Twenty-nine percent of the male population in this country could be the father,” he snarls at a reporter, publicly tarnishing Chrisann, who desperately asks for recognition or support.\u003c/p>\n\u003cfigure id=\"attachment_13935373\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A3471.jpg\" alt=\"A man in a black turtleneck and jeans site barefoot with a woman in a white dress on a blanket, with trees projected in the background\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A3471-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs and Olivia Smith as Chrisann Brennan, taking LSD in an orchard in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As directed by Kevin Newbury, these scenes come alive. And yet, even as Jobs is berated by Chrisann for refusing to acknowledge his daughter, abandoned by Woz for becoming what they once hated and fired by the board of his own company, it all falls into the service of the asshole-genius narrative. We know he’s going to win. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thus, the only real tension here is that Jobs can’t admit his own failures, missteps or declining health. Is that enough to drive an entire opera? Especially when it ends with Jobs becoming a vaunted historical figure, “the inventor of the iPhone,” a multi-billionaire? \u003c/p>\n\u003cp>Jobs did of course wrestle with himself. This is spelled out during a segment in which Jobs chases after a younger version of himself on stage (Atom Young Maguire); getting in his way are people marching like robots and staring into their glowing iPhones, the very object of his fame and fortune impeding his ability to connect with his childhood self. Getting “back to the garage” is a repeated goal.\u003c/p>\n\u003cfigure id=\"attachment_13935395\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/75A4537.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13935395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/75A4537-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">John Moore as Steve Jobs, Wei Wu as Kōbun Chino Otogawa, and Sasha Cooke as Laurene Powell Jobs in ‘The (R)evolution of Steve Jobs.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I would have appreciated less of Jobs’ inner turmoil and more of the effect Jobs had on the world. Near the opera’s end, the savior figure of Laurene Powell Jobs blithely delivers a mini-lecture to the audience, instructing us all to look up from our iPhones and notice nature, the stars and each other. This feels off — a bit like the Sacklers telling Americans to just stop using opioids once in a while.\u003c/p>\n\u003cp>A more realistic conclusion might examine the iPhone’s fallout: more people addicted to their phones than ever, suicide-inducing work conditions at Apple factories in China, the deterioration of teenagers’ self-esteem. \u003c/p>\n\u003cp>But such thoughts only arrive because \u003cem>(R)evolution\u003c/em> is so good at drawing the audience in, forcing us to care about human invention, and the messy ways that society enters into large-scale behavioral shifts. For an hour and a half, you’ll reconsider your relationship to your phone, and how it came to dominate so much of your time. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The (R)evolution of Steve Jobs’ runs through Oct. 7 at the War Memorial Opera House in San Francisco. Tickets start at $26. More details and information here. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For 82-Year-Old Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’",
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"headTitle": "For 82-Year-Old Jazz Saxophonist Gary Bartz, ‘Music Is My Religion’ | KQED",
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"content": "\u003cfigure id=\"attachment_13935187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg\" alt=\"A man with white hair and a blue suit plays alto saxophone with foliage in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays saxophone on the rooftop of KQED in San Francisco, Aug. 13, 2023. The recently named NEA Jazz Master has just finished recording three new projects, due to be released in 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>[dropcap]G[/dropcap]ary Bartz wants to go to the playground. Walking along 17th Street in San Francisco, he spies a swing set in Franklin Square and clambers up the park stairs, carrying his saxophone.\u003c/p>\n\u003cp>In his 82 years, Bartz has released dozens of albums under his own name, and hundreds more as a sideman. He’s performed thousands of concerts with jazz luminaries like Miles Davis, Pharoah Sanders and Art Blakey, all over the globe. In August, three weeks before we meet, the \u003ca href=\"https://www.npr.org/2023/07/12/1187199875/nea-jazz-masters\">NEA named him a 2024 Jazz Master\u003c/a>, a prestigious national honor.\u003c/p>\n\u003cp>But today, he’s just returned from a marathon three-week recording session in Los Angeles, and he’s ready to unwind. At the playground, he hops on a swing, throws his head back with a wide smile and starts singing: “Fairy tales can come true / It can happen to you / If you’re young at heart…”\u003c/p>\n\u003cp>The passage of time, this inevitable thing that might nag at other octogenarians, comes to a halt. For a moment, singing of love and life and dreams, Bartz is a kid again, transported back to his childhood in Baltimore. When he reaches the end of the song, he stands up, brushes the dirt from the swing’s chains off his hands, and asks out loud to no one in particular:\u003c/p>\n\u003cp>“Who’s 82 \u003cem>now\u003c/em>?!”\u003c/p>\n\u003cfigure id=\"attachment_13933561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg\" alt=\"Gary Bartz swings at the playground at Franklin Square in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz swings at the playground at San Francisco’s Franklin Square. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There may be a reason for Bartz’s carefree mood these days. In addition to the NEA honor, which comes with a $25,000 grant, his music is undergoing a renaissance among younger listeners. Part of it is his recent collaboration with Adrian Younge and Ali Shaheed Muhammad (from A Tribe Called Quest) in their \u003cem>Jazz Is Dead\u003c/em> series, which introduced Bartz to a new audience amidst a growing crossover of jazz and hip-hop.\u003c/p>\n\u003cp>But mainly, it’s that Bartz has always made music that reflects the emotional, spiritual and political realms of the world. Everyone else is just catching up, is all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘Spontaneous composition’ in the Bay Area\u003c/h2>\n\u003cp>For a college professor — he’s taught at Oberlin for over two decades — Bartz is quicker to admit what he doesn’t know than what he does. He says he can’t define love, exactly. He doesn’t know what happens to us in the afterlife, only that man-made religions exist to console those who refuse to see reality. As for music, this thing he’s spent his life studying, “we don’t know where it comes from, and we don’t know where it goes.”\u003c/p>\n\u003cp>He does know about the things he can control, though. On his days at home, Bartz sometimes runs or bikes around Lake Merritt or Lafayette Reservoir. He tries to stay on his diet, and listens to Frank Sinatra “about every day.” Most of the time, he practices his horn: running through his compositions, or spontaneously creating new ones. Other people, he says, foolishly call it “improvising.”\u003c/p>\n\u003cp>“But we’re not improvising. We’re composing, all the time,” he says about soloing. “Improvising means you’re making stuff up. You don’t study something for 50 years just to go make stuff up.”\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those 50 years, Bartz kept being drawn to the Bay Area. He closed out the final show at the old Yoshi’s in North Oakland, appeared regularly at the Keystone Korner in San Francisco, and recorded prolifically at Fantasy Studios in Berkeley. He even tells a story of crossing paths with Bob Marley at a live radio broadcast session in Sausalito. “There’s so much great music that has come out of here,” he says. “It’s always been a very fertile place for me.”\u003c/p>\n\u003cp>Six years ago, Bartz moved to a house on the border of Oakland and Emeryville to be closer to family. He admits to a touch of nomadism, suggesting he may not stay forever. But in his time living in the Bay Area, he’s become part of the scene on major stages like the Kuumbwa Jazz Center and the San Jose Jazz Festival.\u003c/p>\n\u003cp>[aside tag='8over80' label='More 8 Over 80']At the SFJAZZ Center in January, Bartz appeared at a tribute to the late pianist McCoy Tyner, in whose band he performed for many years. (“He was composing music at the highest level,” Bartz says.) On tunes like “Contemplation,” Bartz soloed on stage — or rather, spontaneously composed — with more imagination, technique and spirit than many musicians half his age.\u003c/p>\n\u003cp>In June of this year, Bartz again paid tribute to a recently departed friend, who he calls “my brother”: the saxophone giant Pharoah Sanders. At the Healdsburg Jazz Festival, Bartz performed Sanders landmarks like “The Creator Has a Master Plan,” and stepped to the microphone to sing the pensive “Colors,” with its poetic lyrics about pushing aside the misery of life, and inviting happiness and joy.\u003c/p>\n\u003ch2>Hearing the future\u003c/h2>\n\u003cp>Bartz was just six when he heard Charlie Parker for the first time, and “it was the most beautiful thing I’d ever heard,” he says. He remembers thinking to himself: \u003cem>that’s what I want to do with my life\u003c/em>.\u003c/p>\n\u003cp>Five years later, during which he listened studiously to the jazz greats of the day, his parents bought him an alto saxophone. (His life goal was aided by the fact that his father, Floyd, ran a jazz club in Baltimore.) After attending Juilliard, he packed off to New York, where he hooked up with jazz drum giant Max Roach and, at age 24, joined Art Blakey’s Jazz Messengers. While stringing gigs together, he sometimes slept on the subway.\u003c/p>\n\u003cfigure id=\"attachment_13933560\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg\" alt=\"A man in a blue suit looks determinedly into the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait on San Francisco’s Bryant Street. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Miles Davis asked Bartz to join his band, in 1970, he’d already played with the likes of Charles Mingus, Roy Ayers, Eric Dolphy and Woody Shaw. But his time with Miles, captured on records like \u003cem>Live-Evil\u003c/em> and \u003cem>The Cellar Door Sessions\u003c/em>, was an experience like no other.\u003c/p>\n\u003cp>“Miles could hear the future,” Bartz says. “That’s the job of any artist, to be able to see or hear the future. Something that’s never been heard before. That’s what we’re all looking for.”\u003c/p>\n\u003cp>[aside postID='arts_13927947']Listening to Bartz’s own albums from the early 1970s, one gets a glimpse of his version of the future. On 1971’s \u003cem>Harlem Bush Music—Uhuru\u003c/em>, made with his group NTU Troop, blues and ramshackle proto-funk mix with avant-garde jazz and the music of Central and West Africa. Lyrics sung plainly by either Bartz or vocalist Andy Bey cover topics like Vietnam (“Vietcong”), life in the cosmos (“Celestial Blues”), conscientious objection to war (“Uhuru Sasa”), and the emotional abrasion of being Black in America (“Blue (A Folk Tale)”).\u003c/p>\n\u003cp>At the same time, Bartz also conveyed a playful side, as heard on the later tracks “Whasaname” and “Dozens (The Sounding Song),” which refers to the \u003ca href=\"https://www.elijahwald.com/dozens.html\">one-upping game of insults\u003c/a> which strongly influenced early hip-hop. (Rap is often a dividing line among generations, but Bartz understood it immediately: “When they asked Rakim where he got his flow, he said ‘I got my flow from listening to John Coltrane.’ So that should tell you something right there.”)\u003c/p>\n\u003cp>Bartz has also drawn on the words of poets, like Paul Laurence Dunbar for “\u003ca href=\"https://youtu.be/5uYVxQKLtVc?si=xYZq7titrr5KPQL0&t=1795\">Parted\u003c/a>,” and Langston Hughes for the rhythmic, reflective “\u003ca href=\"https://www.youtube.com/watch?v=l9WCFQzznC4\">I’ve Known Rivers\u003c/a>.” The latter is a highlight in Bartz’s catalog, and an ode to a community of people that spans the Congo to the Mississippi. Its final line is a meditation on age and experience: “My soul has grown deep like the rivers.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l9WCFQzznC4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The world is still catching up to Gary Bartz, but to write so soulfully, so young, I gather Bartz was also catching up to himself. He first recorded “I’ve Known Rivers” in France when he was 33 years old. Almost 50 years later, after living in New York, Italy, Spain, and Los Angeles, I ask how he views modern-day America.\u003c/p>\n\u003cp>“Well, our laws are based on a false premise, which is that color of your skin makes a race. That’s a dumb premise,” he says. “There’s only one human race. I mean, I’ve never seen a different one. Little kids know it. They have to be taught different, either on purpose, or just by society. I found out by growing up in a segregated city.”\u003c/p>\n\u003cp>With so much lived experience, I wonder: Does he feel 82?\u003c/p>\n\u003cp>“Physically, I do, sometimes,” Bartz says. “Mentally, I see myself the same as I’ve always seen myself. But when I look in the mirror, I say, ‘Who is he?’”\u003c/p>\n\u003cfigure id=\"attachment_13933559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg\" alt=\"Gary Bartz plays his saxophone on the rooftop of KQED\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays his saxophone on the rooftop of KQED. ‘Listening is more important than playing,’ he often says. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying devout\u003c/h2>\n\u003cp>A British reporter once asked Charlie Parker for his religious affiliation. “I am a devout musician,” Parker replied. Bartz likes that concept, and calls himself a born-again musician, “because there were times that I forsook music, and didn’t realize how important it really was.”\u003c/p>\n\u003cp>Bartz tells me if he could go back in time and give advice to himself at age 20, he’d say: “Be careful.”\u003c/p>\n\u003cp>Drugs were rampant in New York jazz circles at the time. Heroin, especially. If you did it, you were immediately connected to other musicians who did it too; people like Art Blakey, Kenny Dorham and Philly Joe Jones. Bartz did it, and naturally got hooked. It lasted on and off for years. “I endangered myself,” Bartz says.\u003c/p>\n\u003cfigure id=\"attachment_13935188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BartzStage.72dpi.jpg\" alt=\"A man in long pants and yellow shit plays saxophone under stage lights \" width=\"1920\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1536x1006.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz onstage with NTU Troop at the Montreux Jazz Festival in 1973. \u003ccite>(Tony Lane/Prestige Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, a friend asked Bartz, “Who do you play music for?” “It was like a koan,” he says. “It took me a while to understand even the question: Who do I play music for?”\u003c/p>\n\u003cp>He says he spent much of the 1970s trying to answer the question. He got close to an answer in 1977, when he switched gears stylistically and recorded the song “\u003ca href=\"https://www.youtube.com/watch?v=RfiEkI3Z0ig\">Music is My Sanctuary\u003c/a>.” Released on Capitol Records, it became one of his better known commercial singles. But originally, it had a different title.\u003c/p>\n\u003cp>“For me,” Bartz says, “music is my \u003cem>religion\u003c/em>.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935187\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg\" alt=\"A man with white hair and a blue suit plays alto saxophone with foliage in the background.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Bartz.Rooftop.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays saxophone on the rooftop of KQED in San Francisco, Aug. 13, 2023. The recently named NEA Jazz Master has just finished recording three new projects, due to be released in 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>This story is part of the series \u003ca href=\"http://kqed.org/8over80\">8 Over 80\u003c/a>, celebrating artists and cultural figures over the age of 80 who continue to shape the greater Bay Area.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">G\u003c/span>\u003c/p>\u003cp>ary Bartz wants to go to the playground. Walking along 17th Street in San Francisco, he spies a swing set in Franklin Square and clambers up the park stairs, carrying his saxophone.\u003c/p>\n\u003cp>In his 82 years, Bartz has released dozens of albums under his own name, and hundreds more as a sideman. He’s performed thousands of concerts with jazz luminaries like Miles Davis, Pharoah Sanders and Art Blakey, all over the globe. In August, three weeks before we meet, the \u003ca href=\"https://www.npr.org/2023/07/12/1187199875/nea-jazz-masters\">NEA named him a 2024 Jazz Master\u003c/a>, a prestigious national honor.\u003c/p>\n\u003cp>But today, he’s just returned from a marathon three-week recording session in Los Angeles, and he’s ready to unwind. At the playground, he hops on a swing, throws his head back with a wide smile and starts singing: “Fairy tales can come true / It can happen to you / If you’re young at heart…”\u003c/p>\n\u003cp>The passage of time, this inevitable thing that might nag at other octogenarians, comes to a halt. For a moment, singing of love and life and dreams, Bartz is a kid again, transported back to his childhood in Baltimore. When he reaches the end of the song, he stands up, brushes the dirt from the swing’s chains off his hands, and asks out loud to no one in particular:\u003c/p>\n\u003cp>“Who’s 82 \u003cem>now\u003c/em>?!”\u003c/p>\n\u003cfigure id=\"attachment_13933561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg\" alt=\"Gary Bartz swings at the playground at Franklin Square in San Francisco\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68139_20230818-GaryBartz-23-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz swings at the playground at San Francisco’s Franklin Square. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There may be a reason for Bartz’s carefree mood these days. In addition to the NEA honor, which comes with a $25,000 grant, his music is undergoing a renaissance among younger listeners. Part of it is his recent collaboration with Adrian Younge and Ali Shaheed Muhammad (from A Tribe Called Quest) in their \u003cem>Jazz Is Dead\u003c/em> series, which introduced Bartz to a new audience amidst a growing crossover of jazz and hip-hop.\u003c/p>\n\u003cp>But mainly, it’s that Bartz has always made music that reflects the emotional, spiritual and political realms of the world. Everyone else is just catching up, is all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘Spontaneous composition’ in the Bay Area\u003c/h2>\n\u003cp>For a college professor — he’s taught at Oberlin for over two decades — Bartz is quicker to admit what he doesn’t know than what he does. He says he can’t define love, exactly. He doesn’t know what happens to us in the afterlife, only that man-made religions exist to console those who refuse to see reality. As for music, this thing he’s spent his life studying, “we don’t know where it comes from, and we don’t know where it goes.”\u003c/p>\n\u003cp>He does know about the things he can control, though. On his days at home, Bartz sometimes runs or bikes around Lake Merritt or Lafayette Reservoir. He tries to stay on his diet, and listens to Frank Sinatra “about every day.” Most of the time, he practices his horn: running through his compositions, or spontaneously creating new ones. Other people, he says, foolishly call it “improvising.”\u003c/p>\n\u003cp>“But we’re not improvising. We’re composing, all the time,” he says about soloing. “Improvising means you’re making stuff up. You don’t study something for 50 years just to go make stuff up.”\u003c/p>\n\u003cfigure id=\"attachment_13933558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg\" alt=\"Gary Bartz poses for a portrait with his saxophone\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68119_20230818-GaryBartz-04-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait with his saxophone at KQED. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In those 50 years, Bartz kept being drawn to the Bay Area. He closed out the final show at the old Yoshi’s in North Oakland, appeared regularly at the Keystone Korner in San Francisco, and recorded prolifically at Fantasy Studios in Berkeley. He even tells a story of crossing paths with Bob Marley at a live radio broadcast session in Sausalito. “There’s so much great music that has come out of here,” he says. “It’s always been a very fertile place for me.”\u003c/p>\n\u003cp>Six years ago, Bartz moved to a house on the border of Oakland and Emeryville to be closer to family. He admits to a touch of nomadism, suggesting he may not stay forever. But in his time living in the Bay Area, he’s become part of the scene on major stages like the Kuumbwa Jazz Center and the San Jose Jazz Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the SFJAZZ Center in January, Bartz appeared at a tribute to the late pianist McCoy Tyner, in whose band he performed for many years. (“He was composing music at the highest level,” Bartz says.) On tunes like “Contemplation,” Bartz soloed on stage — or rather, spontaneously composed — with more imagination, technique and spirit than many musicians half his age.\u003c/p>\n\u003cp>In June of this year, Bartz again paid tribute to a recently departed friend, who he calls “my brother”: the saxophone giant Pharoah Sanders. At the Healdsburg Jazz Festival, Bartz performed Sanders landmarks like “The Creator Has a Master Plan,” and stepped to the microphone to sing the pensive “Colors,” with its poetic lyrics about pushing aside the misery of life, and inviting happiness and joy.\u003c/p>\n\u003ch2>Hearing the future\u003c/h2>\n\u003cp>Bartz was just six when he heard Charlie Parker for the first time, and “it was the most beautiful thing I’d ever heard,” he says. He remembers thinking to himself: \u003cem>that’s what I want to do with my life\u003c/em>.\u003c/p>\n\u003cp>Five years later, during which he listened studiously to the jazz greats of the day, his parents bought him an alto saxophone. (His life goal was aided by the fact that his father, Floyd, ran a jazz club in Baltimore.) After attending Juilliard, he packed off to New York, where he hooked up with jazz drum giant Max Roach and, at age 24, joined Art Blakey’s Jazz Messengers. While stringing gigs together, he sometimes slept on the subway.\u003c/p>\n\u003cfigure id=\"attachment_13933560\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933560\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg\" alt=\"A man in a blue suit looks determinedly into the camera\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68136_20230818-GaryBartz-21-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz poses for a portrait on San Francisco’s Bryant Street. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Miles Davis asked Bartz to join his band, in 1970, he’d already played with the likes of Charles Mingus, Roy Ayers, Eric Dolphy and Woody Shaw. But his time with Miles, captured on records like \u003cem>Live-Evil\u003c/em> and \u003cem>The Cellar Door Sessions\u003c/em>, was an experience like no other.\u003c/p>\n\u003cp>“Miles could hear the future,” Bartz says. “That’s the job of any artist, to be able to see or hear the future. Something that’s never been heard before. That’s what we’re all looking for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Listening to Bartz’s own albums from the early 1970s, one gets a glimpse of his version of the future. On 1971’s \u003cem>Harlem Bush Music—Uhuru\u003c/em>, made with his group NTU Troop, blues and ramshackle proto-funk mix with avant-garde jazz and the music of Central and West Africa. Lyrics sung plainly by either Bartz or vocalist Andy Bey cover topics like Vietnam (“Vietcong”), life in the cosmos (“Celestial Blues”), conscientious objection to war (“Uhuru Sasa”), and the emotional abrasion of being Black in America (“Blue (A Folk Tale)”).\u003c/p>\n\u003cp>At the same time, Bartz also conveyed a playful side, as heard on the later tracks “Whasaname” and “Dozens (The Sounding Song),” which refers to the \u003ca href=\"https://www.elijahwald.com/dozens.html\">one-upping game of insults\u003c/a> which strongly influenced early hip-hop. (Rap is often a dividing line among generations, but Bartz understood it immediately: “When they asked Rakim where he got his flow, he said ‘I got my flow from listening to John Coltrane.’ So that should tell you something right there.”)\u003c/p>\n\u003cp>Bartz has also drawn on the words of poets, like Paul Laurence Dunbar for “\u003ca href=\"https://youtu.be/5uYVxQKLtVc?si=xYZq7titrr5KPQL0&t=1795\">Parted\u003c/a>,” and Langston Hughes for the rhythmic, reflective “\u003ca href=\"https://www.youtube.com/watch?v=l9WCFQzznC4\">I’ve Known Rivers\u003c/a>.” The latter is a highlight in Bartz’s catalog, and an ode to a community of people that spans the Congo to the Mississippi. Its final line is a meditation on age and experience: “My soul has grown deep like the rivers.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/l9WCFQzznC4'\n title='//www.youtube.com/embed/l9WCFQzznC4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The world is still catching up to Gary Bartz, but to write so soulfully, so young, I gather Bartz was also catching up to himself. He first recorded “I’ve Known Rivers” in France when he was 33 years old. Almost 50 years later, after living in New York, Italy, Spain, and Los Angeles, I ask how he views modern-day America.\u003c/p>\n\u003cp>“Well, our laws are based on a false premise, which is that color of your skin makes a race. That’s a dumb premise,” he says. “There’s only one human race. I mean, I’ve never seen a different one. Little kids know it. They have to be taught different, either on purpose, or just by society. I found out by growing up in a segregated city.”\u003c/p>\n\u003cp>With so much lived experience, I wonder: Does he feel 82?\u003c/p>\n\u003cp>“Physically, I do, sometimes,” Bartz says. “Mentally, I see myself the same as I’ve always seen myself. But when I look in the mirror, I say, ‘Who is he?’”\u003c/p>\n\u003cfigure id=\"attachment_13933559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg\" alt=\"Gary Bartz plays his saxophone on the rooftop of KQED\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68129_20230818-GaryBartz-13-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz plays his saxophone on the rooftop of KQED. ‘Listening is more important than playing,’ he often says. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Staying devout\u003c/h2>\n\u003cp>A British reporter once asked Charlie Parker for his religious affiliation. “I am a devout musician,” Parker replied. Bartz likes that concept, and calls himself a born-again musician, “because there were times that I forsook music, and didn’t realize how important it really was.”\u003c/p>\n\u003cp>Bartz tells me if he could go back in time and give advice to himself at age 20, he’d say: “Be careful.”\u003c/p>\n\u003cp>Drugs were rampant in New York jazz circles at the time. Heroin, especially. If you did it, you were immediately connected to other musicians who did it too; people like Art Blakey, Kenny Dorham and Philly Joe Jones. Bartz did it, and naturally got hooked. It lasted on and off for years. “I endangered myself,” Bartz says.\u003c/p>\n\u003cfigure id=\"attachment_13935188\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935188\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/BartzStage.72dpi.jpg\" alt=\"A man in long pants and yellow shit plays saxophone under stage lights \" width=\"1920\" height=\"1257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-800x524.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1020x668.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/BartzStage.72dpi-1536x1006.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gary Bartz onstage with NTU Troop at the Montreux Jazz Festival in 1973. \u003ccite>(Tony Lane/Prestige Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once, a friend asked Bartz, “Who do you play music for?” “It was like a koan,” he says. “It took me a while to understand even the question: Who do I play music for?”\u003c/p>\n\u003cp>He says he spent much of the 1970s trying to answer the question. He got close to an answer in 1977, when he switched gears stylistically and recorded the song “\u003ca href=\"https://www.youtube.com/watch?v=RfiEkI3Z0ig\">Music is My Sanctuary\u003c/a>.” Released on Capitol Records, it became one of his better known commercial singles. But originally, it had a different title.\u003c/p>\n\u003cp>“For me,” Bartz says, “music is my \u003cem>religion\u003c/em>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series",
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"headTitle": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series | KQED",
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"content": "\u003cfigure id=\"attachment_13935051\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png\" alt=\"The words Rightnowish Presents Hyphy Kids Got Trauma are airbrushed on a white t-shirt over a yellow background.\" width=\"3000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1920x1920.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Kids Got Trauma, the podcast series from Rightnowish. \u003ccite>(Rebecca Kao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he year 2006 was a wild one in the Bay Area, especially if, like me, you were into hip-hop.\u003c/p>\n\u003cp>The scene was dominated by the \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\">hyphy movement\u003c/a>, a youth culture driven by uptempo music, oversized airbrushed white T-shirts, big-ass sunglasses called stunna shades and candy painted cars doing donuts in intersections. Music blasted out of speakers lodged in the cars’ front grills as crowds of people gathered around, screaming “swang that shit.”\u003c/p>\n\u003cp>The people fueled the music, and in turn, the music moved the people. It was unbridled energy, livewire behavior, and communal celebration.\u003c/p>\n\u003cp>But beneath it all? That’s where it gets real — and why we’re calling this special Rightnowish podcast series Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath it surface was no small amount of pain. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]O[/dropcap]n March 7, 2006, Oakland rapper Too Short dropped the single “Blow The Whistle.” Produced by one of Atlanta’s most acclaimed artists, Lil Jon, it perfectly married the energy of hyphy music with the power of crunk music. With a sinister bass line, energetic drums, a simple hook and Too Short’s cocky flow, the song was a smash, and still gets present-day crowds turnt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The very next week, on March 14, Vallejo’s legendary lyricist and esteemed entrepreneur E-40 released \u003cem>My Ghetto Report Card\u003c/em>, a landmark project that featured the hit song “Tell Me When to Go.” Also produced by Lil Jon, and featuring fan favorite Keak Da Sneak from East Oakland, the song and accompanying video caused a cultural earthquake, the aftershocks of which are felt to this day.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year also brought about landmark projects from San Francisco’s San Quinn, Big Rich, and Messy Marv. West Oakland’s J-Stalin teamed up with DJ Fresh for a banger. North Oakland’s Mistah F.A.B. and Pittsburg’s late lyricist The Jacka both rode the wave of big projects they individually dropped the year prior. And at the end of 2006, Berkeley’s The Pack stepped into the rap game with the hit song “Vans.”\u003c/p>\n\u003cp>There was this one artist, Beeda Weeda, from a neighborhood in East Oakland known as the Dubs — or Murder Dubs — who made this one song I couldn’t stop slappin’.\u003c/p>\n\u003cp>[aside postID='arts_13923938']The track was simply titled “\u003ca href=\"https://www.youtube.com/watch?v=lXx3oATdjeg\">We Ain’t Listening\u003c/a>,” and it was pure youth rebellion over drums and synths. The lyrics provided a vent for me, a frustrated teenager. I was one of the many young adults who’d consumed too much dark liquor while celebrating each drug-induced day as if it were my last. Maybe because it very well could’ve been.\u003c/p>\n\u003cp>Almost 20 years later, with the benefit of hindsight and the language to express it, I can see how I was partying while simultaneously mourning, and living in a constant, traumatic state of fear.\u003c/p>\n\u003cp>In January of 2006, my friend Willie Clay, who I’d known since middle school, was shot and killed in the Dubs. Multiple people were hit; one other person died. That year, 148 people were killed in Oakland, one of the Town’s highest homicide totals ever recorded.\u003c/p>\n\u003cfigure id=\"attachment_13935136\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935136\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg\" alt=\"A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]W[/dropcap]hen people talk about the hyphy movement, it’s often remembered as fun-loving and goofy. And while there were definitely some comical dances and corny songs, the origins of hyphy are far from funny.\u003c/p>\n\u003cp>“Hyphy” originally meant hyperactive, and not in a good way. Like an aggressive loose dog, a driver speeding on the wrong side of the street, or rebellious teenagers who tell oppressive authority figures “we ain’t listening” without giving it a second thought.\u003c/p>\n\u003cp>As the culture grew, though, the term got watered down. There was actually a lot of pain in that era. Some of the scars were specific to that year, while others were the latest incarnation of larger societal issues (systemic racism, sexism, capitalism and imperialism, to name a few) that have oppressed folks in this country for centuries. But no matter what the cause was, the pain gave us a reason to party.\u003c/p>\n\u003cp>The music was an outlet; a salve for the wounds caused by the world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3978396932&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935139\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg\" alt=\"Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin.\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin. \u003ccite>(Alexander Warnow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to festering neighborhood beefs and unfortunate acts of community violence, we were facing the onset of gentrification. Banks were handing out predatory housing loans, rents were increasing and \u003ca href=\"https://www.nytimes.com/2010/09/03/us/politics/03bcbrown.html\" target=\"_blank\" rel=\"noopener\">former Oakland Mayor Jerry Brown laid out a plan\u003c/a> to redevelop downtown and usher in thousands of new residents. \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener\">Black folks were pushed out of Oakland in droves\u003c/a>, relocating to California’s Central Valley, Nevada, Arizona or one of the southern states. We were also dealing with over-policing from a corrupt Oakland Police Department that had entered its third year of federal oversight.\u003c/p>\n\u003cp>At the same time, the unjust system of mass incarceration in California hit its peak. In 2006, the state’s prisons operated at \u003ca href=\"https://www.library.ca.gov/wp-content/uploads/GovernmentPublications/executive-order-proclamation/38-Proc-2006-93.pdf\" target=\"_blank\" rel=\"noopener\">200% of their capacity\u003c/a>.\u003c/p>\n\u003cp>And nationally, as the United States hurtled toward its worst economic downturn since the Great Depression, the military was sending my peers to Afghanistan to fight the War on Terror, a conflict that would eventually become the longest war this country has ever seen.\u003c/p>\n\u003cp>Yeah, we were dealing with a lot.\u003c/p>\n\u003cp>How did we cope? We went stupid. We shook dreads. We dodged cops. We smoked grapes, sipped drank and shoved pills in our faces. We turned up the music, revved engines and screamed “Yee!” ’til our voices shook the concrete, causing the nation to take note of us. \u003cem>That’s\u003c/em> how we dealt with pain.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A scraper bike on the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]A[/dropcap] few years ago I was bending corners around West Oakland and saw some graffiti on an underpass that stuck with me. The words were simple: “hyphy kids got trauma.”\u003c/p>\n\u003cp>The piece I saw, inspired by lyrics from San Francisco’s \u003ca href=\"https://www.textmerecords.com/rich-iyala\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a>, was by a graffiti writer named Nasty. But then I saw it in a few other places too, by different writers.\u003c/p>\n\u003cp>Evidently the idea resonated with folks. I wasn’t the only one.\u003c/p>\n\u003cp>I have fond memories of watching cars dance at sideshows, and seeing homies gig during turf dance battles at East Oakland’s Youth Uprising Center. But those sweet reflections, of kicking it with my friends at the teenage club — the Candy Shop, or hotboxing with the homies in the parking lot — are met with the unsavory realities of the the hyphy movement. It wasn’t all fun and games. There were a lot of people with the letters RIP airbrushed on their white t-shirts, and folks with funeral pamphlets on the front dashboard of their Buick scrapers. Evidence of the pain.\u003c/p>\n\u003cp>As a hip-hop loving, budding journalist, laying the foundation for my career path while trying to stay out of harm’s way, I took note of it all. Now, as an adult, I see it with a new perspective.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The year 2006 truly was a wild year for the Bay Area. I’m still healing from it, and I’m not the only one.\u003c/p>\n\n",
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"title": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series | KQED",
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"headline": "Hyphy Kids Got Trauma: A Rightnowish Podcast Series",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13935051\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png\" alt=\"The words Rightnowish Presents Hyphy Kids Got Trauma are airbrushed on a white t-shirt over a yellow background.\" width=\"3000\" height=\"3000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1.png 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-2048x2048.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/HKGTFinalTile_Hyphy-Kids-Got-Trauma-1-1920x1920.png 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy Kids Got Trauma, the podcast series from Rightnowish. \u003ccite>(Rebecca Kao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he year 2006 was a wild one in the Bay Area, especially if, like me, you were into hip-hop.\u003c/p>\n\u003cp>The scene was dominated by the \u003ca href=\"https://www.kqed.org/news/11881696/how-hyphy-came-to-define-bay-area-hip-hop\">hyphy movement\u003c/a>, a youth culture driven by uptempo music, oversized airbrushed white T-shirts, big-ass sunglasses called stunna shades and candy painted cars doing donuts in intersections. Music blasted out of speakers lodged in the cars’ front grills as crowds of people gathered around, screaming “swang that shit.”\u003c/p>\n\u003cp>The people fueled the music, and in turn, the music moved the people. It was unbridled energy, livewire behavior, and communal celebration.\u003c/p>\n\u003cp>But beneath it all? That’s where it gets real — and why we’re calling this special Rightnowish podcast series Hyphy Kids Got Trauma.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3485225341&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13932929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/HyphyKids.Dray_-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Hyphy was known as a high-energy, flamboyant movement, but layered beneath it surface was no small amount of pain. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n March 7, 2006, Oakland rapper Too Short dropped the single “Blow The Whistle.” Produced by one of Atlanta’s most acclaimed artists, Lil Jon, it perfectly married the energy of hyphy music with the power of crunk music. With a sinister bass line, energetic drums, a simple hook and Too Short’s cocky flow, the song was a smash, and still gets present-day crowds turnt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The very next week, on March 14, Vallejo’s legendary lyricist and esteemed entrepreneur E-40 released \u003cem>My Ghetto Report Card\u003c/em>, a landmark project that featured the hit song “Tell Me When to Go.” Also produced by Lil Jon, and featuring fan favorite Keak Da Sneak from East Oakland, the song and accompanying video caused a cultural earthquake, the aftershocks of which are felt to this day.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4775019711&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935137\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935137\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg\" alt=\"(L–R) Keak da Sneak and E-40 on the set of the music video for 'Tell Me When To Go' in 2006. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/e-40_video_photo_s_by_dray_keak_da_sneak___e-40-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Keak da Sneak and E-40 on the set of the music video for ‘Tell Me When To Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That year also brought about landmark projects from San Francisco’s San Quinn, Big Rich, and Messy Marv. West Oakland’s J-Stalin teamed up with DJ Fresh for a banger. North Oakland’s Mistah F.A.B. and Pittsburg’s late lyricist The Jacka both rode the wave of big projects they individually dropped the year prior. And at the end of 2006, Berkeley’s The Pack stepped into the rap game with the hit song “Vans.”\u003c/p>\n\u003cp>There was this one artist, Beeda Weeda, from a neighborhood in East Oakland known as the Dubs — or Murder Dubs — who made this one song I couldn’t stop slappin’.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The track was simply titled “\u003ca href=\"https://www.youtube.com/watch?v=lXx3oATdjeg\">We Ain’t Listening\u003c/a>,” and it was pure youth rebellion over drums and synths. The lyrics provided a vent for me, a frustrated teenager. I was one of the many young adults who’d consumed too much dark liquor while celebrating each drug-induced day as if it were my last. Maybe because it very well could’ve been.\u003c/p>\n\u003cp>Almost 20 years later, with the benefit of hindsight and the language to express it, I can see how I was partying while simultaneously mourning, and living in a constant, traumatic state of fear.\u003c/p>\n\u003cp>In January of 2006, my friend Willie Clay, who I’d known since middle school, was shot and killed in the Dubs. Multiple people were hit; one other person died. That year, 148 people were killed in Oakland, one of the Town’s highest homicide totals ever recorded.\u003c/p>\n\u003cfigure id=\"attachment_13935136\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935136\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg\" alt=\"A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/Dubs.ParkBench.2011.CredPEN-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A park bench in the Dubs, pictured in 2011, memorializes loved ones from the neighborhood. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen people talk about the hyphy movement, it’s often remembered as fun-loving and goofy. And while there were definitely some comical dances and corny songs, the origins of hyphy are far from funny.\u003c/p>\n\u003cp>“Hyphy” originally meant hyperactive, and not in a good way. Like an aggressive loose dog, a driver speeding on the wrong side of the street, or rebellious teenagers who tell oppressive authority figures “we ain’t listening” without giving it a second thought.\u003c/p>\n\u003cp>As the culture grew, though, the term got watered down. There was actually a lot of pain in that era. Some of the scars were specific to that year, while others were the latest incarnation of larger societal issues (systemic racism, sexism, capitalism and imperialism, to name a few) that have oppressed folks in this country for centuries. But no matter what the cause was, the pain gave us a reason to party.\u003c/p>\n\u003cp>The music was an outlet; a salve for the wounds caused by the world.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3978396932&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935139\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg\" alt=\"Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin.\" width=\"1280\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/CRED.AlexanderWarnow-768x512.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Beeda Weeda, Tajai from Souls of Mischief, and J. Stalin. \u003ccite>(Alexander Warnow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to festering neighborhood beefs and unfortunate acts of community violence, we were facing the onset of gentrification. Banks were handing out predatory housing loans, rents were increasing and \u003ca href=\"https://www.nytimes.com/2010/09/03/us/politics/03bcbrown.html\" target=\"_blank\" rel=\"noopener\">former Oakland Mayor Jerry Brown laid out a plan\u003c/a> to redevelop downtown and usher in thousands of new residents. \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener\">Black folks were pushed out of Oakland in droves\u003c/a>, relocating to California’s Central Valley, Nevada, Arizona or one of the southern states. We were also dealing with over-policing from a corrupt Oakland Police Department that had entered its third year of federal oversight.\u003c/p>\n\u003cp>At the same time, the unjust system of mass incarceration in California hit its peak. In 2006, the state’s prisons operated at \u003ca href=\"https://www.library.ca.gov/wp-content/uploads/GovernmentPublications/executive-order-proclamation/38-Proc-2006-93.pdf\" target=\"_blank\" rel=\"noopener\">200% of their capacity\u003c/a>.\u003c/p>\n\u003cp>And nationally, as the United States hurtled toward its worst economic downturn since the Great Depression, the military was sending my peers to Afghanistan to fight the War on Terror, a conflict that would eventually become the longest war this country has ever seen.\u003c/p>\n\u003cp>Yeah, we were dealing with a lot.\u003c/p>\n\u003cp>How did we cope? We went stupid. We shook dreads. We dodged cops. We smoked grapes, sipped drank and shoved pills in our faces. We turned up the music, revved engines and screamed “Yee!” ’til our voices shook the concrete, causing the nation to take note of us. \u003cem>That’s\u003c/em> how we dealt with pain.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6098869655&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13935138\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg\" alt=\"A scraper bike on the set of E-40's music video 'Tell Me When to Go' in 2006.\" width=\"2560\" height=\"1700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/FabVideoShoot.Scraper.Dray_-1920x1275.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A scraper bike on the set of E-40’s music video ‘Tell Me When to Go’ in 2006. \u003ccite>(D-Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp> few years ago I was bending corners around West Oakland and saw some graffiti on an underpass that stuck with me. The words were simple: “hyphy kids got trauma.”\u003c/p>\n\u003cp>The piece I saw, inspired by lyrics from San Francisco’s \u003ca href=\"https://www.textmerecords.com/rich-iyala\" target=\"_blank\" rel=\"noopener\">Rich Iyala\u003c/a>, was by a graffiti writer named Nasty. But then I saw it in a few other places too, by different writers.\u003c/p>\n\u003cp>Evidently the idea resonated with folks. I wasn’t the only one.\u003c/p>\n\u003cp>I have fond memories of watching cars dance at sideshows, and seeing homies gig during turf dance battles at East Oakland’s Youth Uprising Center. But those sweet reflections, of kicking it with my friends at the teenage club — the Candy Shop, or hotboxing with the homies in the parking lot — are met with the unsavory realities of the the hyphy movement. It wasn’t all fun and games. There were a lot of people with the letters RIP airbrushed on their white t-shirts, and folks with funeral pamphlets on the front dashboard of their Buick scrapers. Evidence of the pain.\u003c/p>\n\u003cp>As a hip-hop loving, budding journalist, laying the foundation for my career path while trying to stay out of harm’s way, I took note of it all. Now, as an adult, I see it with a new perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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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"politicalbreakdown": {
"id": "politicalbreakdown",
"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",
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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",
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"pri-the-world": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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