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"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
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"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Family and friends of Paul Madonna are rallying together after the beloved San Francisco artist and author was seriously injured in a hit-and-run collision in McLaren Park.\u003c/p>\n\u003cp>Madonna was making his daily drive home through the park when his smart car was struck by a Mercedes Benz driving at approximately 65 miles per hour in the wrong lane. After the Mercedes sped off, witnesses came to Madonna’s aid and called the emergency services, as well as his wife of 21 years, Joen. Madonna subsequently underwent four hours of emergency surgery to repair major internal injuries.\u003c/p>\n\u003cp>“It’s 10 days he’s been in the hospital and last night was the first night he was able to sit up in a chair and eat a meal,” Joen tells KQED Arts. “Paul is really strong, he’s very resilient. I feel like we’ve just turned the ship to where he understands that he’s the one that gets to dictate his recovery; that he will be able to do it. It’s the first day where he’s really been able to feel that kind of power and autonomy over his life again.”\u003c/p>\n\u003cp>In addition to his internal injuries — including a collapsed lung — Madonna also sustained a broken nose, a shattered right heel, injuries to his shoulder and leg, as well as a torn carotid artery and brain blood bleed. The artist was in the ICU for three days. He is expected to be in a wheelchair for several months.\u003c/p>\n\u003cp>Joen, the executive director of \u003ca href=\"https://www.artspan.org/home\">ArtSpan\u003c/a>, was due to travel to a speaking engagement the day of her husband’s accident. She feels fortunate that she wasn’t already mid-flight or in another city when the hit-and-run occurred, but is still reeling from the horror of that afternoon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Where the crash happened is about a quarter mile from where we live,” she says. “It is a very, very surreal experience to walk out the door and have sirens screaming down the street. And then going to the scene where your husband has just gotten some good Samaritans to call you. That phone call, he was just yelling ‘J, I’ve been hit! J, come! Come! I’ve been hit!’”\u003c/p>\n\u003cp>Joen arrived at McLaren Park in time to see Madonna placed in the ambulance, but was not permitted to accompany him because of COVID protocols. It took Joen three and a half hours to get a full explanation of her husband’s injuries. She spent that time with friends who happen to live across the street from SF General. Those friends have since provided her with a key so that she can come and go from their home as she needs, while Madonna remains in the hospital.\u003c/p>\n\u003cp>Visiting hours, even for Joen, remain restricted because of COVID protocols, but Madonna is already finding ways to reach his loved ones. “I have exchanged some texts with Paul, so he is communicative,” Madonna’s longtime friend John Hessen tells KQED Arts, “but he’s not ready to talk on the phone just yet. The one good piece of news that I did get is that his drawing hand was miraculously not injured, even though most of the rest of him was.”\u003c/p>\n\u003cp>News of the Nov. 6 accident came to light after the Madonnas’ friend Kathryn Patterson started a \u003ca href=\"https://www.gofundme.com/f/paul-madonna-recovery-fund?qid=8487383f5e421a2feaa65cc90bf0c399\">Go Fund Me campaign\u003c/a>. The fundraiser is asking for donations to help the couple with expenses as Madonna recovers from his substantial injuries, and Joen takes time off work to assist him. The campaign raised more than $72,000 in its first 24 hours.\u003c/p>\n\u003cp>[aside postid='arts_13914459']Hessen is encouraging those that want to help the Madonna family to either donate to the Go Fund Me campaign, or to buy books, prints and holiday gifts from \u003ca href=\"https://paul-madonna.myshopify.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madonna’s website\u003c/a>. Hessen and other friends will be assisting Joen in filling those orders while the artist is unable to do so himself. “We’re going to fill the holes as needed,” Hessen says.\u003c/p>\n\u003cp>“Paul’s just one of those people you meet that really stands out,” Hessen continues. “He’s a genuine, kind, interesting, honest, good guy. He’s brilliantly talented as well. He’s just one of those people you want to hang onto if you get the chance.”\u003c/p>\n\u003cp>Madonna is best known for his \u003cem>All Over Coffee\u003c/em> column that ran for 11 years in the \u003cem>San Francisco Chronicle\u003c/em>. The artist has authored \u003ca href=\"https://paulmadonna.com/031016/page_books.htm\">eight books\u003c/a>, including \u003ca href=\"https://www.bloomsbury.com/us/spirits-of-san-francisco-9781635575880/\">\u003cem>Spirits of San Francisco\u003c/em>\u003c/a> and his most recent, \u003ca href=\"https://www.kqed.org/arts/13914459/paul-madonna-interview-all-over-coffee-san-francisco-you-know-exactly-review\">\u003cem>You Know Exactly\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>SFPD’s Accident Investigation Unit is currently investigating the hit-and-run. Joen hopes that felony charges for the Mercedes driver will result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[SFPD] can’t tell us very much because it’s an active investigation,” Joen says. “But we really, really hope that justice is served. What Paul is going through, through no fault of his own, is an absolute crime.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Family and friends of Paul Madonna are rallying together after the beloved San Francisco artist and author was seriously injured in a hit-and-run collision in McLaren Park.\u003c/p>\n\u003cp>Madonna was making his daily drive home through the park when his smart car was struck by a Mercedes Benz driving at approximately 65 miles per hour in the wrong lane. After the Mercedes sped off, witnesses came to Madonna’s aid and called the emergency services, as well as his wife of 21 years, Joen. Madonna subsequently underwent four hours of emergency surgery to repair major internal injuries.\u003c/p>\n\u003cp>“It’s 10 days he’s been in the hospital and last night was the first night he was able to sit up in a chair and eat a meal,” Joen tells KQED Arts. “Paul is really strong, he’s very resilient. I feel like we’ve just turned the ship to where he understands that he’s the one that gets to dictate his recovery; that he will be able to do it. It’s the first day where he’s really been able to feel that kind of power and autonomy over his life again.”\u003c/p>\n\u003cp>In addition to his internal injuries — including a collapsed lung — Madonna also sustained a broken nose, a shattered right heel, injuries to his shoulder and leg, as well as a torn carotid artery and brain blood bleed. The artist was in the ICU for three days. He is expected to be in a wheelchair for several months.\u003c/p>\n\u003cp>Joen, the executive director of \u003ca href=\"https://www.artspan.org/home\">ArtSpan\u003c/a>, was due to travel to a speaking engagement the day of her husband’s accident. She feels fortunate that she wasn’t already mid-flight or in another city when the hit-and-run occurred, but is still reeling from the horror of that afternoon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Where the crash happened is about a quarter mile from where we live,” she says. “It is a very, very surreal experience to walk out the door and have sirens screaming down the street. And then going to the scene where your husband has just gotten some good Samaritans to call you. That phone call, he was just yelling ‘J, I’ve been hit! J, come! Come! I’ve been hit!’”\u003c/p>\n\u003cp>Joen arrived at McLaren Park in time to see Madonna placed in the ambulance, but was not permitted to accompany him because of COVID protocols. It took Joen three and a half hours to get a full explanation of her husband’s injuries. She spent that time with friends who happen to live across the street from SF General. Those friends have since provided her with a key so that she can come and go from their home as she needs, while Madonna remains in the hospital.\u003c/p>\n\u003cp>Visiting hours, even for Joen, remain restricted because of COVID protocols, but Madonna is already finding ways to reach his loved ones. “I have exchanged some texts with Paul, so he is communicative,” Madonna’s longtime friend John Hessen tells KQED Arts, “but he’s not ready to talk on the phone just yet. The one good piece of news that I did get is that his drawing hand was miraculously not injured, even though most of the rest of him was.”\u003c/p>\n\u003cp>News of the Nov. 6 accident came to light after the Madonnas’ friend Kathryn Patterson started a \u003ca href=\"https://www.gofundme.com/f/paul-madonna-recovery-fund?qid=8487383f5e421a2feaa65cc90bf0c399\">Go Fund Me campaign\u003c/a>. The fundraiser is asking for donations to help the couple with expenses as Madonna recovers from his substantial injuries, and Joen takes time off work to assist him. The campaign raised more than $72,000 in its first 24 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hessen is encouraging those that want to help the Madonna family to either donate to the Go Fund Me campaign, or to buy books, prints and holiday gifts from \u003ca href=\"https://paul-madonna.myshopify.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Madonna’s website\u003c/a>. Hessen and other friends will be assisting Joen in filling those orders while the artist is unable to do so himself. “We’re going to fill the holes as needed,” Hessen says.\u003c/p>\n\u003cp>“Paul’s just one of those people you meet that really stands out,” Hessen continues. “He’s a genuine, kind, interesting, honest, good guy. He’s brilliantly talented as well. He’s just one of those people you want to hang onto if you get the chance.”\u003c/p>\n\u003cp>Madonna is best known for his \u003cem>All Over Coffee\u003c/em> column that ran for 11 years in the \u003cem>San Francisco Chronicle\u003c/em>. The artist has authored \u003ca href=\"https://paulmadonna.com/031016/page_books.htm\">eight books\u003c/a>, including \u003ca href=\"https://www.bloomsbury.com/us/spirits-of-san-francisco-9781635575880/\">\u003cem>Spirits of San Francisco\u003c/em>\u003c/a> and his most recent, \u003ca href=\"https://www.kqed.org/arts/13914459/paul-madonna-interview-all-over-coffee-san-francisco-you-know-exactly-review\">\u003cem>You Know Exactly\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>SFPD’s Accident Investigation Unit is currently investigating the hit-and-run. Joen hopes that felony charges for the Mercedes driver will result.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[SFPD] can’t tell us very much because it’s an active investigation,” Joen says. “But we really, really hope that justice is served. What Paul is going through, through no fault of his own, is an absolute crime.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sandals worn by \u003ca href=\"https://www.npr.org/2011/10/25/141653658/steve-jobs-a-computer-icon-on-life-death-and-apple\">Steve Jobs\u003c/a> in the early days of Apple sold for $218,750 at an auction in New York City on Sunday.\u003c/p>\n\u003cp>The brown suede Birkenstock Arizonas were worn by Jobs in the 1970s and 1980s during “many pivotal moments in Apple’s history,” according to the auction house.\u003c/p>\n\u003cp>[aside postid='arts_13886943']It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The winning bidder did not want their name disclosed, but it was sold in the room at the Hard Rock Cafe in Times Square, according to Nolan. The runner-up bid was from a potential buyer in China.\u003c/p>\n\u003cp>This is far from the most someone has paid for footwear at auction.\u003c/p>\n\u003cp>Nike Air Ships worn by Michael Jordan in 1984 sold for \u003ca href=\"https://www.npr.org/2021/10/25/1049009323/michael-jordan-shoes-sneakers-auction\">$1.47 million a year ago\u003c/a>. Black Nikes worn by Kanye West at the 2008 Grammys \u003ca href=\"https://news.artnet.com/art-world/kanye-west-sneakers-sell-sothebys-1961885\">sold for $1.8 million\u003c/a> last year as well.\u003c/p>\n\u003cp>[aside postid='arts_13898598']The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s the highest price ever paid for a pair of sandals at auction, Julien’s Auctions executive director Martin Nolan told NPR, and a record for footwear at the auction house.\u003c/p>\n\u003cp>The sandals came from the collection of Mark Sheff, who managed Jobs’ Albany, Calif., estate in the 1980s. Other items associated with Jobs have \u003ca href=\"https://news.artnet.com/market/black-turtleneck-steve-jobs-auction-634268\">been sold at auctions\u003c/a> in recent years, sometimes reaching hefty prices — an \u003ca href=\"https://www.npr.org/2022/08/20/1118633842/the-apple-1-prototype-steve-jobs-used-has-sold-for-nearly-700-000\">Apple-1 Computer prototype\u003c/a> from the mid-1970s fetched $677,196.\u003c/p>\n\u003cp>The sandals were previously sold for a mere $2,000 at auction in 2016, Nolan said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The auction also included an NFT of images of the Birkenstocks as part of the sale.\u003c/p>\n\u003cp>But perhaps the most pressing question about the sandals, seeing as the auction house notes that they show “heavy wear”: Do they smell?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nolan only answered that they “do smell … of success.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steve+Jobs%27+worn-out+Birkenstocks+sell+for+%24218%2C000+at+auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Adidas Cuts Ties With Ye Over Antisemitic Remarks That Caused an Uproar | KQED",
"content": "\u003cp>Adidas said on Tuesday that it is cutting ties with Ye, the artist and fashion designer formerly known as Kanye West, following a series of antisemitic comments made in recent weeks. \u003c/p>\n\u003cp>Ye’s nearly decade-long partnership with the German sportswear giant helped make the rap superstar a billionaire and vaulted his Yeezy branded sneakers to a global audience. \u003c/p>\n\u003cp>[aside postID='arts_13920788,arts_13920562'] Following growing pressure on Adidas to drop Ye, the company announced that it does not tolerate antisemitism or other types of hate speech.\u003c/p>\n\u003cp>“Ye’s recent comments and actions have been unacceptable, hateful and dangerous, and they violate the company’s values of diversity and inclusion, mutual respect and fairness,” the company \u003ca href=\"https://www.adidas-group.com/en/media/news-archive/press-releases/2022/adidas-terminates-partnership-ye-immediately/\">said\u003c/a> in a statement. \u003c/p>\n\u003cp>Adidas will no longer produce Yeezy products and stop payments to Ye and his companies, according to Adidas, which estimated that the decision is expected to hit its net income by nearly $250 million in 2022. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The company is the latest to isolate Ye in the wake of a string of incendiary remarks, including that slavery was a choice and \u003ca href=\"https://www.vice.com/en/article/3ad77y/kanye-west-tucker-carlson-leaked-footage-antisemitism-fake-children\">a leaked interview\u003c/a> between Ye and Fox News host Tucker Carlson, in which he said, “I’d prefer my kids knew Chanukah than Kwanzaa, at least it would come with some financial engineering.”\u003c/p>\n\u003cp>Adidas had been reviewing its partnership with Ye since he wore a “White Lives Matter” shirt at Paris Fashion Week. The Anti-Defamation League\u003ca href=\"https://www.adl.org/resources/hate-symbol/white-lives-matter\"> considers\u003c/a> the slogan, which has been embraced by white supremacists, a symbol of hate speech. \u003c/p>\n\u003cp>As the company examined its ties to Ye last week, the ADL asked in a \u003ca href=\"https://www.adl.org/resources/letter/adl-letter-adidas-executives-regarding-kanye-west\">letter\u003c/a>, “what more do you need to review?”\u003c/p>\n\u003cp>Jonathan Greenblatt, who leads the ADL, said in a statement on Tuesday that Adidas’ action “sends a powerful message that antisemitism and bigotry have no place in society.” \u003c/p>\n\u003ch2>The controversy brings attention to Adidas founder’s Nazi ties \u003c/h2>\n\u003cp>The attention also renewed scrutiny on the history of Adidas. \u003c/p>\n\u003cp>Brothers Adolf and Rudolf Dassler had been members of the Nazi party and toward the end of World War II, their shoe factory was converted into a munitions plant for the war effort.\u003c/p>\n\u003cp>The two had started manufacturing footwear, including spiked shoes, in Bavaria during the 1920s and were propelled to international fame after the 1936 Olympics in Berlin, where legendary Black U.S. sprinter Jesse Owens won four gold medals wearing a pair of track spikes from the Dassler brothers.\u003c/p>\n\u003cp>An acrimonious rift between them led to the two splitting off: Adolf Dassler, known as Adi, founded Adidas in 1949. And his brother, who went by Rudi, started rival shoemaker Puma across the river from Adidas’ operation. \u003c/p>\n\u003cp>Under \u003ca href=\"https://www.gesetze-im-internet.de/englisch_stgb/englisch_stgb.html\">German law\u003c/a>, inciting hatred against people of a certain race or religion, including denying the Holocaust and spreading Nazi propaganda, is criminalized and can be punishable with prison time. \u003c/p>\n\u003cp>Publicly displaying a Swastika in the country is also outlawed and can result in prosecution. \u003c/p>\n\u003ch2>As Ye continues to be squeezed, he eyes his own ‘Yecosystem’\u003c/h2>\n\u003cp>Twitter and Instagram \u003ca href=\"https://www.npr.org/2022/10/09/1127732183/kanye-west-instagram-twitter\">suspended\u003c/a> Ye earlier this month after making antisemitic posts, including a post on Twitter threating to go “death con 3 on JEWISH PEOPLE.” \u003c/p>\n\u003cp>In response to the social media companies locking down his accounts, Ye announced that \u003ca href=\"https://www.npr.org/2022/10/17/1129405942/kanye-west-ye-twitter-ban-parler\">he was purchasing\u003c/a> the conservative-friendly Twitter knock-off company Parler, in a move that puzzled tech observers. Details of the transaction have yet to be made public. \u003c/p>\n\u003cp>Adidas moving away from Ye is his latest fallout in the business world since he began unleashing his inflammatory comments. The Balenciaga fashion house \u003ca href=\"https://www.npr.org/2022/10/21/1130616032/balenciaga-fashion-house-ye\">has ended\u003c/a> its relationship with him and Hollywood talent agency Creative Artists Agency also \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/caa-cuts-ties-with-kanye-west-as-hollywood-boycott-calls-grow-1235247333/\">dumped\u003c/a> him. \u003c/p>\n\u003cp>Production studio MRC said on Monday that it is shelving a finished documentary on Ye upon reviewing his recent antisemitic remarks. \u003c/p>\n\u003cp>“We cannot support any content that amplifies his platform,” company executives said in a statement. \u003c/p>\n\u003cp>Ye has not responded to the Adidas breakup. \u003c/p>\n\u003cp>The rapper \u003ca href=\"https://www.rollingstone.com/music/music-news/kanye-west-yecosystem-1234613238/\">has said\u003c/a> he intends to build his own “Yecosystem,” which would include his own factories and retail stores as a way of fully separating himself from the corporate world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Following growing pressure on Adidas to drop Ye, the company announced that it does not tolerate antisemitism or other types of hate speech.\u003c/p>\n\u003cp>“Ye’s recent comments and actions have been unacceptable, hateful and dangerous, and they violate the company’s values of diversity and inclusion, mutual respect and fairness,” the company \u003ca href=\"https://www.adidas-group.com/en/media/news-archive/press-releases/2022/adidas-terminates-partnership-ye-immediately/\">said\u003c/a> in a statement. \u003c/p>\n\u003cp>Adidas will no longer produce Yeezy products and stop payments to Ye and his companies, according to Adidas, which estimated that the decision is expected to hit its net income by nearly $250 million in 2022. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The company is the latest to isolate Ye in the wake of a string of incendiary remarks, including that slavery was a choice and \u003ca href=\"https://www.vice.com/en/article/3ad77y/kanye-west-tucker-carlson-leaked-footage-antisemitism-fake-children\">a leaked interview\u003c/a> between Ye and Fox News host Tucker Carlson, in which he said, “I’d prefer my kids knew Chanukah than Kwanzaa, at least it would come with some financial engineering.”\u003c/p>\n\u003cp>Adidas had been reviewing its partnership with Ye since he wore a “White Lives Matter” shirt at Paris Fashion Week. The Anti-Defamation League\u003ca href=\"https://www.adl.org/resources/hate-symbol/white-lives-matter\"> considers\u003c/a> the slogan, which has been embraced by white supremacists, a symbol of hate speech. \u003c/p>\n\u003cp>As the company examined its ties to Ye last week, the ADL asked in a \u003ca href=\"https://www.adl.org/resources/letter/adl-letter-adidas-executives-regarding-kanye-west\">letter\u003c/a>, “what more do you need to review?”\u003c/p>\n\u003cp>Jonathan Greenblatt, who leads the ADL, said in a statement on Tuesday that Adidas’ action “sends a powerful message that antisemitism and bigotry have no place in society.” \u003c/p>\n\u003ch2>The controversy brings attention to Adidas founder’s Nazi ties \u003c/h2>\n\u003cp>The attention also renewed scrutiny on the history of Adidas. \u003c/p>\n\u003cp>Brothers Adolf and Rudolf Dassler had been members of the Nazi party and toward the end of World War II, their shoe factory was converted into a munitions plant for the war effort.\u003c/p>\n\u003cp>The two had started manufacturing footwear, including spiked shoes, in Bavaria during the 1920s and were propelled to international fame after the 1936 Olympics in Berlin, where legendary Black U.S. sprinter Jesse Owens won four gold medals wearing a pair of track spikes from the Dassler brothers.\u003c/p>\n\u003cp>An acrimonious rift between them led to the two splitting off: Adolf Dassler, known as Adi, founded Adidas in 1949. And his brother, who went by Rudi, started rival shoemaker Puma across the river from Adidas’ operation. \u003c/p>\n\u003cp>Under \u003ca href=\"https://www.gesetze-im-internet.de/englisch_stgb/englisch_stgb.html\">German law\u003c/a>, inciting hatred against people of a certain race or religion, including denying the Holocaust and spreading Nazi propaganda, is criminalized and can be punishable with prison time. \u003c/p>\n\u003cp>Publicly displaying a Swastika in the country is also outlawed and can result in prosecution. \u003c/p>\n\u003ch2>As Ye continues to be squeezed, he eyes his own ‘Yecosystem’\u003c/h2>\n\u003cp>Twitter and Instagram \u003ca href=\"https://www.npr.org/2022/10/09/1127732183/kanye-west-instagram-twitter\">suspended\u003c/a> Ye earlier this month after making antisemitic posts, including a post on Twitter threating to go “death con 3 on JEWISH PEOPLE.” \u003c/p>\n\u003cp>In response to the social media companies locking down his accounts, Ye announced that \u003ca href=\"https://www.npr.org/2022/10/17/1129405942/kanye-west-ye-twitter-ban-parler\">he was purchasing\u003c/a> the conservative-friendly Twitter knock-off company Parler, in a move that puzzled tech observers. Details of the transaction have yet to be made public. \u003c/p>\n\u003cp>Adidas moving away from Ye is his latest fallout in the business world since he began unleashing his inflammatory comments. The Balenciaga fashion house \u003ca href=\"https://www.npr.org/2022/10/21/1130616032/balenciaga-fashion-house-ye\">has ended\u003c/a> its relationship with him and Hollywood talent agency Creative Artists Agency also \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/caa-cuts-ties-with-kanye-west-as-hollywood-boycott-calls-grow-1235247333/\">dumped\u003c/a> him. \u003c/p>\n\u003cp>Production studio MRC said on Monday that it is shelving a finished documentary on Ye upon reviewing his recent antisemitic remarks. \u003c/p>\n\u003cp>“We cannot support any content that amplifies his platform,” company executives said in a statement. \u003c/p>\n\u003cp>Ye has not responded to the Adidas breakup. \u003c/p>\n\u003cp>The rapper \u003ca href=\"https://www.rollingstone.com/music/music-news/kanye-west-yecosystem-1234613238/\">has said\u003c/a> he intends to build his own “Yecosystem,” which would include his own factories and retail stores as a way of fully separating himself from the corporate world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity",
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"content": "\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>[aside postID='arts_11514986']Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>[aside postID='arts_13863015']As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket",
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"content": "\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>[aside postID='arts_13826589']But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Steuart Pittman, Mills alum']‘I do think that no matter the cost the proverbial life in the arts is really one worth living.’[/pullquote]As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>[aside postID='arts_13916517,news_11914203']Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Dave Sandoval, CCA alum']‘I need to get this off my name, off my credit score, because you just don’t know.’[/pullquote]Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Maddy Clifford, Mills alum']‘The more I started researching the policy, the more I realized how profoundly unjust the student loans are.’[/pullquote]Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>President Biden became the first president to officially recognize Indigenous Peoples’ Day in 2021, and did so again this year. It falls on the same day as Columbus Day, which was established by Italian American groups to celebrate their heritage and to acknowledge the mistreatment of the immigrant group in the U.S.\u003c/p>\n\u003cp>Indigenous Peoples’ Day is a time of reflection, recognition and celebration of the role Native people have played in U.S. history, \u003ca href=\"https://www.npr.org/2021/10/11/1044823626/indigenous-peoples-day-native-americans-columbus\">as NPR has reported\u003c/a>. One way to mark the day — and to learn about Indigenous history year-round — is to learn which Native lands you live on.\u003c/p>\n\u003cp>Acknowledging an area’s original inhabitants and stewards is a valuable process, albeit a complex one, as the \u003ca href=\"https://americanindian.si.edu/nk360/informational/land-acknowledgment#:~:text=Land%20acknowledgment%20is%20a%20traditional,on%20which%20we%20now%20live.\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of the American Indian\u003c/a> explains. The museum suggests reaching out to local Indigenous communities for guidance involving formal \u003ca href=\"https://nativegov.org/news/a-guide-to-indigenous-land-acknowledgment/\" target=\"_blank\" rel=\"noopener noreferrer\">land acknowledgements\u003c/a>, which can be offered at the start of public and private gatherings.\u003c/p>\n\u003cp>“Many places in the Americas have been home to different Native Nations over time, and many Indigenous people no longer live on lands to which they have ancestral ties,” the museum says. “Even so, Native Nations, communities, families, and individuals today sustain their sense of belonging to ancestral homelands and protect these connections through Indigenous languages, oral traditions, ceremonies, and other forms of cultural expression.”\u003c/p>\n\u003ch3>This map’s creators want it to convey more than borders\u003c/h3>\n\u003cp>Native Land Digital, an Indigenous-led nonprofit based in Canada, is working to facilitate such conversations and document this history including by putting together \u003ca href=\"https://native-land.ca/\" target=\"_blank\" rel=\"noopener noreferrer\">a searchable map of Native territories, languages and treaties\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Users can click on labels across the Americas and around other parts of the globe — or type a specific city, state or zip code into the search box — to see which Indigenous tribes lived where. You can zoom in or out, as well as choose to apply “settler labels” to see how the map corresponds with contemporary state lines. Clicking on the name of each nation brings up links for related reading.\u003c/p>\n\u003cp>The map is available on the \u003ca href=\"https://native-land.ca/\" target=\"_blank\" rel=\"noopener noreferrer\">organization’s website\u003c/a> and on iOS and Android mobile apps. Native Land Digital also publishes resources to go with the map, including a teacher’s guide and a territory acknowledgement generator.\u003c/p>\n\u003cp>The nonprofit says it aims to improve the relationship of people — both Indigenous and non-Indigenous — with the history and sacredness of the land around them. That involves “acknowledging and righting the wrongs of history.”\u003c/p>\n\u003cp>“We hope to inspire people to gain a better understanding of themselves, their ancestors, and the world they live in, so that we can all move forward into a better future,” it says.\u003c/p>\n\u003cp>The map itself is “more than a flat picture,” as the nonprofit explains, pointing out that land is sacred to everyone regardless of how consciously they appreciate it.\u003c/p>\n\u003cp>“In reality, we know that the land is not something to be exploited and ‘owned,’ but something to be honoured and treasured,” it says. “However, because of the complexities of history, the kind of mapping we undertake is an important exercise, insofar as it brings an awareness of the real lived history of Indigenous peoples and nations in a long era of colonialism.”\u003c/p>\n\u003ch3>Mapping tribal lands comes with challenges\u003c/h3>\n\u003cp>The nonprofit acknowledges the many logistical and ethical questions that come with mapping Indigenous territories. Those range from defining “Indigenous” across time and space to engaging with those communities so they can “represent themselves and their histories on their own terms.”\u003c/p>\n\u003cp>Native Land Digital aims to use at least two valid sources (including oral history, written documents or “maps sketched by people deemed to be reasonable authorities”) when updating the map, and says in cases of conflicting maps it generally errs on the side of being “more expansive.”\u003c/p>\n\u003cp>It cautions that the map does not represent definitive or legal boundaries of any Indigenous nations, and is a work in progress with many community contributions.\u003c/p>\n\u003cp>“We … encourage people to treat these maps as a starting point and to do their own research in engaging with communities and history themselves,” the group says.\u003c/p>\n\u003ch3>The map has already made an impact\u003c/h3>\n\u003cp>Native-Land.ca was \u003ca href=\"https://native-land.ca/deprecated-pages/old-about/\" target=\"_blank\" rel=\"noopener noreferrer\">created in 2015\u003c/a>, and the organization was incorporated as a nonprofit in 2018. The group says it’s found over the years that its maps have made a direct impact on peoples’ lives.\u003c/p>\n\u003cp>That’s been true of Indigenous people, who have been glad to see their nation mapped or surprised to see how large their traditional territories look on a standard Western map, as well as non-Indigenous people who may be “for the first time, encountering the depth, breadth and complexity of Indigenous history on the land.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Some people may be made uncomfortable by the new information and history the map brings forth,” the nonprofit adds. “But we are secure in knowing that truth is the best teacher, and we hope to provide the best information we can to help people come to their own conclusions about themselves and their place in the modern world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Biden became the first president to officially recognize Indigenous Peoples’ Day in 2021, and did so again this year. It falls on the same day as Columbus Day, which was established by Italian American groups to celebrate their heritage and to acknowledge the mistreatment of the immigrant group in the U.S.\u003c/p>\n\u003cp>Indigenous Peoples’ Day is a time of reflection, recognition and celebration of the role Native people have played in U.S. history, \u003ca href=\"https://www.npr.org/2021/10/11/1044823626/indigenous-peoples-day-native-americans-columbus\">as NPR has reported\u003c/a>. One way to mark the day — and to learn about Indigenous history year-round — is to learn which Native lands you live on.\u003c/p>\n\u003cp>Acknowledging an area’s original inhabitants and stewards is a valuable process, albeit a complex one, as the \u003ca href=\"https://americanindian.si.edu/nk360/informational/land-acknowledgment#:~:text=Land%20acknowledgment%20is%20a%20traditional,on%20which%20we%20now%20live.\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of the American Indian\u003c/a> explains. The museum suggests reaching out to local Indigenous communities for guidance involving formal \u003ca href=\"https://nativegov.org/news/a-guide-to-indigenous-land-acknowledgment/\" target=\"_blank\" rel=\"noopener noreferrer\">land acknowledgements\u003c/a>, which can be offered at the start of public and private gatherings.\u003c/p>\n\u003cp>“Many places in the Americas have been home to different Native Nations over time, and many Indigenous people no longer live on lands to which they have ancestral ties,” the museum says. “Even so, Native Nations, communities, families, and individuals today sustain their sense of belonging to ancestral homelands and protect these connections through Indigenous languages, oral traditions, ceremonies, and other forms of cultural expression.”\u003c/p>\n\u003ch3>This map’s creators want it to convey more than borders\u003c/h3>\n\u003cp>Native Land Digital, an Indigenous-led nonprofit based in Canada, is working to facilitate such conversations and document this history including by putting together \u003ca href=\"https://native-land.ca/\" target=\"_blank\" rel=\"noopener noreferrer\">a searchable map of Native territories, languages and treaties\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Users can click on labels across the Americas and around other parts of the globe — or type a specific city, state or zip code into the search box — to see which Indigenous tribes lived where. You can zoom in or out, as well as choose to apply “settler labels” to see how the map corresponds with contemporary state lines. Clicking on the name of each nation brings up links for related reading.\u003c/p>\n\u003cp>The map is available on the \u003ca href=\"https://native-land.ca/\" target=\"_blank\" rel=\"noopener noreferrer\">organization’s website\u003c/a> and on iOS and Android mobile apps. Native Land Digital also publishes resources to go with the map, including a teacher’s guide and a territory acknowledgement generator.\u003c/p>\n\u003cp>The nonprofit says it aims to improve the relationship of people — both Indigenous and non-Indigenous — with the history and sacredness of the land around them. That involves “acknowledging and righting the wrongs of history.”\u003c/p>\n\u003cp>“We hope to inspire people to gain a better understanding of themselves, their ancestors, and the world they live in, so that we can all move forward into a better future,” it says.\u003c/p>\n\u003cp>The map itself is “more than a flat picture,” as the nonprofit explains, pointing out that land is sacred to everyone regardless of how consciously they appreciate it.\u003c/p>\n\u003cp>“In reality, we know that the land is not something to be exploited and ‘owned,’ but something to be honoured and treasured,” it says. “However, because of the complexities of history, the kind of mapping we undertake is an important exercise, insofar as it brings an awareness of the real lived history of Indigenous peoples and nations in a long era of colonialism.”\u003c/p>\n\u003ch3>Mapping tribal lands comes with challenges\u003c/h3>\n\u003cp>The nonprofit acknowledges the many logistical and ethical questions that come with mapping Indigenous territories. Those range from defining “Indigenous” across time and space to engaging with those communities so they can “represent themselves and their histories on their own terms.”\u003c/p>\n\u003cp>Native Land Digital aims to use at least two valid sources (including oral history, written documents or “maps sketched by people deemed to be reasonable authorities”) when updating the map, and says in cases of conflicting maps it generally errs on the side of being “more expansive.”\u003c/p>\n\u003cp>It cautions that the map does not represent definitive or legal boundaries of any Indigenous nations, and is a work in progress with many community contributions.\u003c/p>\n\u003cp>“We … encourage people to treat these maps as a starting point and to do their own research in engaging with communities and history themselves,” the group says.\u003c/p>\n\u003ch3>The map has already made an impact\u003c/h3>\n\u003cp>Native-Land.ca was \u003ca href=\"https://native-land.ca/deprecated-pages/old-about/\" target=\"_blank\" rel=\"noopener noreferrer\">created in 2015\u003c/a>, and the organization was incorporated as a nonprofit in 2018. The group says it’s found over the years that its maps have made a direct impact on peoples’ lives.\u003c/p>\n\u003cp>That’s been true of Indigenous people, who have been glad to see their nation mapped or surprised to see how large their traditional territories look on a standard Western map, as well as non-Indigenous people who may be “for the first time, encountering the depth, breadth and complexity of Indigenous history on the land.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Some people may be made uncomfortable by the new information and history the map brings forth,” the nonprofit adds. “But we are secure in knowing that truth is the best teacher, and we hope to provide the best information we can to help people come to their own conclusions about themselves and their place in the modern world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/p>\n\u003cp> \u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘He Should Still Be Here’: Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security",
"headTitle": "‘He Should Still Be Here’: Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security | KQED",
"content": "\u003cp>In the last weeks of his life, Oakland hip-hop artist Stephen Gaines, better known as Zumbi of Zion I, had started a hopeful new chapter.\u003c/p>\n\u003cp>In July 2021, he headlined a concert in Nevada City where eager fans lined up for pictures and autographs. He’d come down with COVID-19 after the show, but with his partner of four years, Millaray Rodriguez Avila, he began recovering. The couple visited the beach and went on hikes, and Gaines regained his appetite, eating second helpings of vegan ramen.\u003c/p>\n\u003cp>Gaines laid plans to release new music and embark upon a Zion I reunion tour with his longtime musical collaborator, Amp Live. He and Rodriguez Avila prepared to sign a lease on a house in Oakland, where they planned to live with Gaines’ mother, his young three boys and Rodriguez Avila’s middle school-age son.\u003c/p>\n\u003cp>All of those plans ground to a halt on Aug. 13, 2021, when Gaines was killed during a stay at Alta Bates Medical Center in Berkeley. [aside postid='arts_13920004']\u003c/p>\n\u003cp>The day prior, Gaines had called 911 for help during an apparent mental health crisis and checked himself into Alta Bates. His family and their lawyers say he should have walked out of the hospital alive. Instead, they allege, hospital staff and Allied Universal security guards used excessive force and killed him. According to the coroner’s report, three men, including a patient transporter and a security guard, piled on top of Gaines, placing their weight on his arms, legs and upper torso. They held Gaines to the ground for approximately five to 10 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The coroner determined that Gaines died by homicide, with the official cause of death as “physiologic stress of altercation and restraint during a psychotic episode,” and COVID-19 and an enlarged heart as contributing factors. Yet more than a year since Gaines’ death, Berkeley police have not announced any suspects nor made arrests. After initially stating that Gaines’ killing did not “appear criminal in nature,” the Alameda County District Attorney’s office reversed course on Oct. 5 and announced that, in light of new information, criminal charges could still be possible.\u003c/p>\n\u003cfigure id=\"attachment_13918678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for a tribute to the Zion I MC at the Hiero Day festival in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The restraints used by a combination of Allied Universal staff and Alta Bates staff [were] homicidal,” says Elizabeth Grossman, one of the attorneys representing Gaines’ mother Carolyn, Gaines’ three boys and Rodriguez Avila. Grossman says criminal charges are likely, and that she plans to file a civil lawsuit against Alta Bates hospital and Allied Universal.\u003c/p>\n\u003cp>“I think Ms. Gaines said it right when she was talking to Nancy O’Malley, the district attorney, the other day,” says Grossman. “She sadly recognized that she’s joined a terrible, small club of mothers whose sons have been murdered — not only sons, but children who have been murdered — and she called out George Floyd’s mother.”\u003c/p>\n\u003cp>Law enforcement’s lack of answers and long delays have frustrated those close to Gaines. Now, on what would have been Gaines’ 50th birthday, Oct. 9, loved ones who’d previously stayed silent as the investigation took its course are demanding answers and accountability.\u003c/p>\n\u003cp>“The only thing I want is charges for the people who are responsible for ending a beautiful life the way that they did,” says Rodriguez Avila.\u003c/p>\n\u003cfigure id=\"attachment_13920210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/millaray-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila holds a photo of Stephen Gaines, her partner of four years. Before he died under suspicious circumstances at Alta Bates hospital, the couple had plans to move in together with Gaines’ mother, his three boys and Rodriguez Avila’s son. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lawyers point to wrongful treatment on the hospital floor\u003c/h2>\n\u003cp>According to the coroner’s report, Gaines called 911 on Aug. 12, 2021, to seek help for suicidal ideation. He checked himself into the hospital, where he was placed on a 5150, the code for a 72-hour involuntary psychiatric hold. His toxicology screen was negative, and he was given anti-anxiety medication. Rodriguez Avila says she communicated with Gaines while he was in the hospital, and that he seemed optimistic about his recovery.\u003c/p>\n\u003cp>After sleeping through most of the night, the report says, Gaines awoke suddenly in his bed as attending nurses discussed ordering a CT scan. Witnesses said he chased nurses through the halls and put a pregnant security guard “in a choke hold.” After security and staff pulled Gaines from the guard, a patient transporter took Gaines to the floor, held him face down, and laid on top of him, straddling Gaines’ upper torso. A security guard later piled on top of the patient transporter, putting additional weight on Gaines’ torso, back, and left arm. A third person restrained Gaines’ legs and left elbow.\u003c/p>\n\u003cp>“It is unknown how much body weight was placed on Mr. Gaines,” the coroner’s report notes. Witnesses estimate Gaines was on the ground for “approximately 5-10 minutes.”\u003c/p>\n\u003cp>After a few minutes of struggle, according to the autopsy, the men on top of Gaines noticed blood coming from his mouth, and “could not tell if he was breathing.” When Berkeley police arrived, they attempted to handcuff Gaines while the three men stood up. Officers noticed that Gaines was unresponsive, rolled him on his back, and then put him in handcuffs before administering CPR. By then it was too late. Gaines was pronounced dead at 5:51 a.m. on Aug. 13.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Millaray Rodriguez Avila']‘I want the truth. What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?’[/pullquote]That morning, Rodriguez Avila got a call from the hospital director. The partner she had been building a life with was dead.\u003c/p>\n\u003cp>“I kind of collapsed,” she says now, over a year later. “I lost myself, where I was. I thought it was a movie.”\u003c/p>\n\u003cp>“I want the truth,” Rodriguez Avila continues. “What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?”\u003c/p>\n\u003cp>She and friends who knew Gaines for decades describe him as a kind, gentle soul — a loving parent, partner and friend. They remember him as a health-conscious meditation practitioner who aspired to be his best self and encouraged people to be kinder to each other. That message was audible in his music, which often dealt with themes of societal injustices.\u003c/p>\n\u003cp>“He taught me love,” says Rodriguez Avila. “In our relationship, the beautiful thing is that love, that passion that we had for each other, it was around us, too. It was with our kids. It was with our friends. Everywhere we [went], we projected and received back love.”\u003c/p>\n\u003cp>“I remember him as somebody who always spread love and spread light, and somebody who was an innovator, extremely creative, original,” says friend and fellow hip-hop artist Dustin Sharpe. “Almost like a God-sent prophet because he always spoke wisdom. He always looked at the positive side of things.”\u003c/p>\n\u003cp>The people close to Gaines say he didn’t have a history of mental illness. He dealt with normal life stressors from parenthood and his career as an artist.\u003c/p>\n\u003cp>“When I heard that he brought himself to the hospital, I knew that something was up, that he must have been going through something,” says longtime friend and musical collaborator The Grouch. “People can reach a point of struggle, and whatever happens in that hospital, the hospital is the professionals, and they should be trained to take care of the situation.”\u003c/p>\n\u003cp>Federal regulations outline safe techniques for restraining patients in hospitals. “They specifically call out in the federal regulations that there cannot be positional asphyxiation,” Grossman says. “Most importantly, the regulations require that medical aid be given while restraints are being applied. These regulations were written with a history of understanding that mental health situations often result in restraints being used, and trying to correct bad practices.”\u003c/p>\n\u003cp>“In this case, every bad practice happened,” Grossman continues. “For the five to 10 minutes that he was being restrained with three men lying on his back, there was not one ounce of medical care offered to save this man’s life. That is ugly beyond belief.”\u003c/p>\n\u003cp>[pullquote size='large' align='left' citation='Deuce Eclipse']‘The bottom line for me is he should still be here.’[/pullquote]\u003c/p>\n\u003cp>Friends of Gaines are frustrated law enforcement hasn’t named any suspects. “What are the names of these people who laid on him for five to 10 minutes thinking that was right, whether he was having an episode or not?” says Gina Madrid, a friend and fellow hip-hop artist. “Because you’re not going to kill our brother like that.”\u003c/p>\n\u003cp>“People have to be held accountable,” says hip-hop artist Deuce Eclipse, who had been close with Gaines since the two were in high school. “The bottom line for me is he should still be here. There’s no reason I can find in my mind, my heart, my spirit and my soul why he would be killed in the hospital.”\u003c/p>\n\u003cp>Berkeley police, Alta Bates or its security company, Allied Universal, did not respond to requests for comment as of press time.\u003c/p>\n\u003cfigure id=\"attachment_13920201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi (back right) backstage with his friend Deuce Eclipse (front right) in 2018. The two had been close since high school. \u003ccite>(Courtesy of Deuce Eclipse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Loved ones call for accountability for hospital security guards and staff\u003c/h2>\n\u003cp>In the eyes of his partner and friends, Gaines’ death is another example of authority figures treating the life of a Black person as disposable. For Rodriguez Avila, the loss was shocking, but it also felt disturbingly familiar.\u003c/p>\n\u003cp>“It’s happened before in this country. It’s happened in California. It’s happened in the Bay Area before,” she says. “And there’s so many families, mothers, brothers, sisters that are waiting for answers for other brown, Latino and Black people that have been killed by use of force.”\u003c/p>\n\u003cp>For others, what happened to Gaines is indicative of abuse and racism in the medical and criminal justice systems. “I think that there needs to be a magnifying glass put on the hospitals and how they function,” says The Grouch.\u003c/p>\n\u003cp>That includes the private security companies that hospitals hire. Allied Universal is a multi-billion-dollar global conglomerate that operates in 90 countries and employs 800,000. Liv Styler, a friend of Gaines and an independent journalist, points out that \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">security guards receive significantly less use-of-force training than police officers\u003c/a>. Unlike police, security guards have no public oversight. They aren’t compelled to disclose information by public records laws, which makes it possible to hide misconduct. (\u003ca href=\"https://www.capradio.org/articles/2020/07/10/california-has-no-clear-use-of-force-standard-for-security-guards-regulators-say-that-leaves-their-hands-tied/\" target=\"_blank\" rel=\"noopener noreferrer\">Another death at the hands of Allied Universal security guards\u003c/a> in 2019 prompted a new California law that will \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">create use-of-force standards\u003c/a> for the industry in 2023.)\u003c/p>\n\u003cp>[aside postID='news_11907746']“We need the same type of pressure that happened with police officers to happen with private security,” Styler says. “I think the fact that no one even really considers it an issue is huge.”\u003c/p>\n\u003cp>The investigation into Gaines’ death lasted for over a year, the Alameda County Coroner’s Bureau has said, because of delays in obtaining the toxicology report. Meanwhile, the delay in the district attorney’s decision on whether or not to file charges is “becoming detrimental to the case, and also just to the emotions and the sentiment of those who are close to him as we try to process this,” says musician and longtime friend Kev Choice.\u003c/p>\n\u003cp>Now, Gaines’ friends and family fear there could be further obstacles. O’Malley, the Alameda County District Attorney, will retire when her term ends at the beginning of 2023. A spokesperson for the D.A. told KQED on Oct. 7 that there is currently no timeline for a decision in Gaines’ case.\u003c/p>\n\u003cp>“It’s been 14 months,” says Rodriguez Avila. “What is gonna happen to the review of the case she says that she’s doing? I want to know the result of the review … I want her to [file] charges before she leaves office, before the elections in November next month.”\u003c/p>\n\u003cp>“I’m learning for the first time how to go day-by-day without my love. Without the person that was helping to raise my boy, too,” Rodriguez Avila adds. “That’s why I’m screaming for justice.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "'The only thing I want is charges for the people who are responsible for ending a beautiful life,' says his partner, Millaray Rodriguez.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the last weeks of his life, Oakland hip-hop artist Stephen Gaines, better known as Zumbi of Zion I, had started a hopeful new chapter.\u003c/p>\n\u003cp>In July 2021, he headlined a concert in Nevada City where eager fans lined up for pictures and autographs. He’d come down with COVID-19 after the show, but with his partner of four years, Millaray Rodriguez Avila, he began recovering. The couple visited the beach and went on hikes, and Gaines regained his appetite, eating second helpings of vegan ramen.\u003c/p>\n\u003cp>Gaines laid plans to release new music and embark upon a Zion I reunion tour with his longtime musical collaborator, Amp Live. He and Rodriguez Avila prepared to sign a lease on a house in Oakland, where they planned to live with Gaines’ mother, his young three boys and Rodriguez Avila’s middle school-age son.\u003c/p>\n\u003cp>All of those plans ground to a halt on Aug. 13, 2021, when Gaines was killed during a stay at Alta Bates Medical Center in Berkeley. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The day prior, Gaines had called 911 for help during an apparent mental health crisis and checked himself into Alta Bates. His family and their lawyers say he should have walked out of the hospital alive. Instead, they allege, hospital staff and Allied Universal security guards used excessive force and killed him. According to the coroner’s report, three men, including a patient transporter and a security guard, piled on top of Gaines, placing their weight on his arms, legs and upper torso. They held Gaines to the ground for approximately five to 10 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The coroner determined that Gaines died by homicide, with the official cause of death as “physiologic stress of altercation and restraint during a psychotic episode,” and COVID-19 and an enlarged heart as contributing factors. Yet more than a year since Gaines’ death, Berkeley police have not announced any suspects nor made arrests. After initially stating that Gaines’ killing did not “appear criminal in nature,” the Alameda County District Attorney’s office reversed course on Oct. 5 and announced that, in light of new information, criminal charges could still be possible.\u003c/p>\n\u003cfigure id=\"attachment_13918678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for a tribute to the Zion I MC at the Hiero Day festival in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The restraints used by a combination of Allied Universal staff and Alta Bates staff [were] homicidal,” says Elizabeth Grossman, one of the attorneys representing Gaines’ mother Carolyn, Gaines’ three boys and Rodriguez Avila. Grossman says criminal charges are likely, and that she plans to file a civil lawsuit against Alta Bates hospital and Allied Universal.\u003c/p>\n\u003cp>“I think Ms. Gaines said it right when she was talking to Nancy O’Malley, the district attorney, the other day,” says Grossman. “She sadly recognized that she’s joined a terrible, small club of mothers whose sons have been murdered — not only sons, but children who have been murdered — and she called out George Floyd’s mother.”\u003c/p>\n\u003cp>Law enforcement’s lack of answers and long delays have frustrated those close to Gaines. Now, on what would have been Gaines’ 50th birthday, Oct. 9, loved ones who’d previously stayed silent as the investigation took its course are demanding answers and accountability.\u003c/p>\n\u003cp>“The only thing I want is charges for the people who are responsible for ending a beautiful life the way that they did,” says Rodriguez Avila.\u003c/p>\n\u003cfigure id=\"attachment_13920210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/millaray-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila holds a photo of Stephen Gaines, her partner of four years. Before he died under suspicious circumstances at Alta Bates hospital, the couple had plans to move in together with Gaines’ mother, his three boys and Rodriguez Avila’s son. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lawyers point to wrongful treatment on the hospital floor\u003c/h2>\n\u003cp>According to the coroner’s report, Gaines called 911 on Aug. 12, 2021, to seek help for suicidal ideation. He checked himself into the hospital, where he was placed on a 5150, the code for a 72-hour involuntary psychiatric hold. His toxicology screen was negative, and he was given anti-anxiety medication. Rodriguez Avila says she communicated with Gaines while he was in the hospital, and that he seemed optimistic about his recovery.\u003c/p>\n\u003cp>After sleeping through most of the night, the report says, Gaines awoke suddenly in his bed as attending nurses discussed ordering a CT scan. Witnesses said he chased nurses through the halls and put a pregnant security guard “in a choke hold.” After security and staff pulled Gaines from the guard, a patient transporter took Gaines to the floor, held him face down, and laid on top of him, straddling Gaines’ upper torso. A security guard later piled on top of the patient transporter, putting additional weight on Gaines’ torso, back, and left arm. A third person restrained Gaines’ legs and left elbow.\u003c/p>\n\u003cp>“It is unknown how much body weight was placed on Mr. Gaines,” the coroner’s report notes. Witnesses estimate Gaines was on the ground for “approximately 5-10 minutes.”\u003c/p>\n\u003cp>After a few minutes of struggle, according to the autopsy, the men on top of Gaines noticed blood coming from his mouth, and “could not tell if he was breathing.” When Berkeley police arrived, they attempted to handcuff Gaines while the three men stood up. Officers noticed that Gaines was unresponsive, rolled him on his back, and then put him in handcuffs before administering CPR. By then it was too late. Gaines was pronounced dead at 5:51 a.m. on Aug. 13.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That morning, Rodriguez Avila got a call from the hospital director. The partner she had been building a life with was dead.\u003c/p>\n\u003cp>“I kind of collapsed,” she says now, over a year later. “I lost myself, where I was. I thought it was a movie.”\u003c/p>\n\u003cp>“I want the truth,” Rodriguez Avila continues. “What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?”\u003c/p>\n\u003cp>She and friends who knew Gaines for decades describe him as a kind, gentle soul — a loving parent, partner and friend. They remember him as a health-conscious meditation practitioner who aspired to be his best self and encouraged people to be kinder to each other. That message was audible in his music, which often dealt with themes of societal injustices.\u003c/p>\n\u003cp>“He taught me love,” says Rodriguez Avila. “In our relationship, the beautiful thing is that love, that passion that we had for each other, it was around us, too. It was with our kids. It was with our friends. Everywhere we [went], we projected and received back love.”\u003c/p>\n\u003cp>“I remember him as somebody who always spread love and spread light, and somebody who was an innovator, extremely creative, original,” says friend and fellow hip-hop artist Dustin Sharpe. “Almost like a God-sent prophet because he always spoke wisdom. He always looked at the positive side of things.”\u003c/p>\n\u003cp>The people close to Gaines say he didn’t have a history of mental illness. He dealt with normal life stressors from parenthood and his career as an artist.\u003c/p>\n\u003cp>“When I heard that he brought himself to the hospital, I knew that something was up, that he must have been going through something,” says longtime friend and musical collaborator The Grouch. “People can reach a point of struggle, and whatever happens in that hospital, the hospital is the professionals, and they should be trained to take care of the situation.”\u003c/p>\n\u003cp>Federal regulations outline safe techniques for restraining patients in hospitals. “They specifically call out in the federal regulations that there cannot be positional asphyxiation,” Grossman says. “Most importantly, the regulations require that medical aid be given while restraints are being applied. These regulations were written with a history of understanding that mental health situations often result in restraints being used, and trying to correct bad practices.”\u003c/p>\n\u003cp>“In this case, every bad practice happened,” Grossman continues. “For the five to 10 minutes that he was being restrained with three men lying on his back, there was not one ounce of medical care offered to save this man’s life. That is ugly beyond belief.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘The bottom line for me is he should still be here.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friends of Gaines are frustrated law enforcement hasn’t named any suspects. “What are the names of these people who laid on him for five to 10 minutes thinking that was right, whether he was having an episode or not?” says Gina Madrid, a friend and fellow hip-hop artist. “Because you’re not going to kill our brother like that.”\u003c/p>\n\u003cp>“People have to be held accountable,” says hip-hop artist Deuce Eclipse, who had been close with Gaines since the two were in high school. “The bottom line for me is he should still be here. There’s no reason I can find in my mind, my heart, my spirit and my soul why he would be killed in the hospital.”\u003c/p>\n\u003cp>Berkeley police, Alta Bates or its security company, Allied Universal, did not respond to requests for comment as of press time.\u003c/p>\n\u003cfigure id=\"attachment_13920201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi (back right) backstage with his friend Deuce Eclipse (front right) in 2018. The two had been close since high school. \u003ccite>(Courtesy of Deuce Eclipse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Loved ones call for accountability for hospital security guards and staff\u003c/h2>\n\u003cp>In the eyes of his partner and friends, Gaines’ death is another example of authority figures treating the life of a Black person as disposable. For Rodriguez Avila, the loss was shocking, but it also felt disturbingly familiar.\u003c/p>\n\u003cp>“It’s happened before in this country. It’s happened in California. It’s happened in the Bay Area before,” she says. “And there’s so many families, mothers, brothers, sisters that are waiting for answers for other brown, Latino and Black people that have been killed by use of force.”\u003c/p>\n\u003cp>For others, what happened to Gaines is indicative of abuse and racism in the medical and criminal justice systems. “I think that there needs to be a magnifying glass put on the hospitals and how they function,” says The Grouch.\u003c/p>\n\u003cp>That includes the private security companies that hospitals hire. Allied Universal is a multi-billion-dollar global conglomerate that operates in 90 countries and employs 800,000. Liv Styler, a friend of Gaines and an independent journalist, points out that \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">security guards receive significantly less use-of-force training than police officers\u003c/a>. Unlike police, security guards have no public oversight. They aren’t compelled to disclose information by public records laws, which makes it possible to hide misconduct. (\u003ca href=\"https://www.capradio.org/articles/2020/07/10/california-has-no-clear-use-of-force-standard-for-security-guards-regulators-say-that-leaves-their-hands-tied/\" target=\"_blank\" rel=\"noopener noreferrer\">Another death at the hands of Allied Universal security guards\u003c/a> in 2019 prompted a new California law that will \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">create use-of-force standards\u003c/a> for the industry in 2023.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We need the same type of pressure that happened with police officers to happen with private security,” Styler says. “I think the fact that no one even really considers it an issue is huge.”\u003c/p>\n\u003cp>The investigation into Gaines’ death lasted for over a year, the Alameda County Coroner’s Bureau has said, because of delays in obtaining the toxicology report. Meanwhile, the delay in the district attorney’s decision on whether or not to file charges is “becoming detrimental to the case, and also just to the emotions and the sentiment of those who are close to him as we try to process this,” says musician and longtime friend Kev Choice.\u003c/p>\n\u003cp>Now, Gaines’ friends and family fear there could be further obstacles. O’Malley, the Alameda County District Attorney, will retire when her term ends at the beginning of 2023. A spokesperson for the D.A. told KQED on Oct. 7 that there is currently no timeline for a decision in Gaines’ case.\u003c/p>\n\u003cp>“It’s been 14 months,” says Rodriguez Avila. “What is gonna happen to the review of the case she says that she’s doing? I want to know the result of the review … I want her to [file] charges before she leaves office, before the elections in November next month.”\u003c/p>\n\u003cp>“I’m learning for the first time how to go day-by-day without my love. Without the person that was helping to raise my boy, too,” Rodriguez Avila adds. “That’s why I’m screaming for justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In ‘Comrade Sisters,’ Women of the Black Panther Party Take the Spotlight",
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"content": "\u003cp>When FBI director J. Edgar Hoover declared the Black Panther Party the “greatest threat” to national security in 1969, Ericka Huggins was waking at dawn with fellow Party members to prepare free breakfasts for local children. When the political organization was founded in 1966 to challenge police violence, racism and poverty, the government and media were quick to classify the group as violent and aggressive. That portrayal ignored the Party’s survival programs that provided clothing, medical services and other resources to their Black, brown and Indigenous communities — programs often led by women.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"news_11873838,arts_13867337\"]More than 50 years later, Huggins and photojournalist Stephen Shames — who was a 19-year-old UC Berkeley student when he got involved with the BPP — aim to bring those women into the light with the release of the photo book \u003cem>Comrade Sisters: Women of the Black Panther Party\u003c/em>, out Oct. 10 (ACC Art Books)\u003cem>.\u003c/em> The book’s national tour kicks off with a half-dozen events in the Bay Area Oct. 9–13, \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">including an Oct. 9 talk with renowned activist Angela Davis\u003c/a>, who wrote the book’s foreword, at Marcus Books in Oakland.\u003c/p>\n\u003cp>A dialogue between past and present, \u003cem>Comrade Sisters\u003c/em> juxtaposes more than 100 black-and-white images from the late 1960s with contemporary conversations, featuring interviews with 50 women who were Party members. While women made up over 60% of the Party, their presence remained largely understated in the public eye — until now.\u003c/p>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducting sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shames’ behind-the-scenes photos document the women of the Black Panther Party in their most vulnerable, powerful, disheartened and joyous moments. In one, a young girl holds up a Black Panther newspaper in a bus terminal, eyes hopeful, as men in uniform carry on walking behind her. In others, women are seen teaching, moving boxes of food, leading marches and smiling for the camera, their dynamism fully on display.\u003c/p>\n\u003cp>“I hope that young girls and their moms and grandmas — and men also — look at the pictures and they’re really inspired to see what a group of women was able to accomplish back then, and to not get discouraged,” says Shames. “That, you know, they can do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In anticipation of the book’s release and tour, Huggins says she looks forward to being in solidarity with old friends and strangers alike — all connected through a broader history and common fight.\u003c/p>\n\u003cfigure id=\"attachment_13920159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1920x1294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther children in a classroom with their teacher, Evon Carter, widow of Alprentice ‘Bunchy’ Carter, at the Intercommunal Youth Institute, the Black Panther school in Oakland, in 1972. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that sisterhood doesn’t necessarily have just to do with the biology of it. It is the connection. We are the family we choose,” says Huggins. “That’s what’s in the underpinning of the word ‘comrade’: a sister or a brother, a people connected in struggle. And what is that struggle? To take something away from people? No — to give agency to people so that they can reclaim their own inner power and the power within their communities.”\u003c/p>\n\u003cp>Looking back on the Black Panthers’ work, says Huggins, “I see why [it was] threatening to people who hold the wealth and the power in a place. But we were not intending to threaten. We just wanted to make a difference.\u003c/p>\n\u003cp>“And so now we’re older, and we can look back at it with great amazement, actually, at how brave we were in the face of so much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Comrade Sisters: Women of the Black Panther Party’ co-authors Stephen Shames and Ericka Huggins will be joined by book contributor Angela Davis for a discussion and book signing on Sunday, Oct. 9, from 2-4 p.m. at Marcus Books in Oakland. Attendance is free; \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">more details here\u003c/a>. A schedule of other events can be \u003ca href=\"https://www.dropbox.com/s/gtenn3uer2tcd9e/CS%20Events%20FINAL.doc?dl=0\">downloaded here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More than 50 years later, Huggins and photojournalist Stephen Shames — who was a 19-year-old UC Berkeley student when he got involved with the BPP — aim to bring those women into the light with the release of the photo book \u003cem>Comrade Sisters: Women of the Black Panther Party\u003c/em>, out Oct. 10 (ACC Art Books)\u003cem>.\u003c/em> The book’s national tour kicks off with a half-dozen events in the Bay Area Oct. 9–13, \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">including an Oct. 9 talk with renowned activist Angela Davis\u003c/a>, who wrote the book’s foreword, at Marcus Books in Oakland.\u003c/p>\n\u003cp>A dialogue between past and present, \u003cem>Comrade Sisters\u003c/em> juxtaposes more than 100 black-and-white images from the late 1960s with contemporary conversations, featuring interviews with 50 women who were Party members. While women made up over 60% of the Party, their presence remained largely understated in the public eye — until now.\u003c/p>\n\u003cfigure id=\"attachment_13920156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg\" alt=\"a black and white photo of five African-American people, some in lab coats, standing outside doing a blood draw on one of them, an older woman\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1536x1020.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-2048x1360.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-1-1920x1275.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther Adrienne Humphrey conducting sickle cell anemia testing during Bobby Seale’s campaign for mayor of Oakland in 1973. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shames’ behind-the-scenes photos document the women of the Black Panther Party in their most vulnerable, powerful, disheartened and joyous moments. In one, a young girl holds up a Black Panther newspaper in a bus terminal, eyes hopeful, as men in uniform carry on walking behind her. In others, women are seen teaching, moving boxes of food, leading marches and smiling for the camera, their dynamism fully on display.\u003c/p>\n\u003cp>“I hope that young girls and their moms and grandmas — and men also — look at the pictures and they’re really inspired to see what a group of women was able to accomplish back then, and to not get discouraged,” says Shames. “That, you know, they can do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In anticipation of the book’s release and tour, Huggins says she looks forward to being in solidarity with old friends and strangers alike — all connected through a broader history and common fight.\u003c/p>\n\u003cfigure id=\"attachment_13920159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-2048x1380.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Comrade-Sisters-Event-Option-3-1-1920x1294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Panther children in a classroom with their teacher, Evon Carter, widow of Alprentice ‘Bunchy’ Carter, at the Intercommunal Youth Institute, the Black Panther school in Oakland, in 1972. \u003ccite>(Stephen Shames)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think that sisterhood doesn’t necessarily have just to do with the biology of it. It is the connection. We are the family we choose,” says Huggins. “That’s what’s in the underpinning of the word ‘comrade’: a sister or a brother, a people connected in struggle. And what is that struggle? To take something away from people? No — to give agency to people so that they can reclaim their own inner power and the power within their communities.”\u003c/p>\n\u003cp>Looking back on the Black Panthers’ work, says Huggins, “I see why [it was] threatening to people who hold the wealth and the power in a place. But we were not intending to threaten. We just wanted to make a difference.\u003c/p>\n\u003cp>“And so now we’re older, and we can look back at it with great amazement, actually, at how brave we were in the face of so much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Comrade Sisters: Women of the Black Panther Party’ co-authors Stephen Shames and Ericka Huggins will be joined by book contributor Angela Davis for a discussion and book signing on Sunday, Oct. 9, from 2-4 p.m. at Marcus Books in Oakland. Attendance is free; \u003ca href=\"https://www.marcusbooks.com/event/comrade-sisters-women-black-panther-party-book-launch\">more details here\u003c/a>. A schedule of other events can be \u003ca href=\"https://www.dropbox.com/s/gtenn3uer2tcd9e/CS%20Events%20FINAL.doc?dl=0\">downloaded here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Criminal Charges in Zumbi Homicide Investigation Still Possible, Family Says",
"headTitle": "Criminal Charges in Zumbi Homicide Investigation Still Possible, Family Says | KQED",
"content": "\u003cp>\u003cem>This story has been updated. \u003c/em>\u003c/p>\n\u003cp>Criminal charges may still be filed for the death of popular Bay Area hip-hop artist Stephen Gaines, best known as Baba Zumbi of the duo Zion I.\u003c/p>\n\u003cp>Gaines died at Alta Bates Summit Medical Center in Berkeley on Aug. 13, 2021, after being held down by three hospital security guards and handcuffed by Berkeley Police officers while unconscious. Berkeley Police investigated the case as a homicide, but did not announce suspects or make arrests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.mercurynews.com/2022/09/30/exclusive-zion-i-rapper-zumbis-death-ruled-a-homicide-but-no-criminal-charges-will-be-filed/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mercury News\u003c/em>\u003c/a> reported last week that the Alameda Country District Attorney’s office had declined to pursue criminal charges despite the death being ruled a homicide. But Wednesday, after meeting with District Attorney Nancy O’Malley, Gaines’ mother, Carolyn Gaines, and her lawyer, Elizabeth Grossman, released a statement that the D.A. still could bring criminal charges. [aside postID='arts_13901531']\u003c/p>\n\u003cp>“Nothing has been finalized on criminal charges related to my son’s death,” Carolyn Gaines said in a statement. “I feel assured and confident that this case is not over and criminal charges remain likely. I am holding steadfast that the institutions responsible for my son’s death will be held accountable.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the same statement, Grossman echoed the possibility of criminal charges. “I spoke directly with Nancy O’Malley today and a final decision has not been made,” she said.\u003c/p>\n\u003cp>The district attorney’s office confirmed this development. “We are looking at potential new information. That’s all we can say at this time,” a spokesperson for the district attorney told KQED on Wednesday. [pullquote size='medium' align='right' citation='Liv Styler, friend']‘If [Zumbi] was having a mental health episode, crisis, whatever, he should still be alive.’[/pullquote]\u003c/p>\n\u003cp>The circumstances surrounding Zumbi’s death have been shrouded in secrecy. Over the past year, KQED repeatedly requested interviews with the Berkeley Police Department and the Alameda County Coroner’s Bureau and did not receive a response, even after Berkeley Police concluded their investigation in August 2022. BPD also denied KQED’s public records request for officer body camera footage from the incident.\u003c/p>\n\u003cp>The slowness of the investigation and lack of transparency has frustrated Zumbi’s loved ones. “I’m infuriated. I’m mad and angry and sad, but I’m not surprised,” said rapper and activist Equipto, Zumbi’s close friend and collaborator, in an interview in August, adding: “I think people power is really the only way that we’re really going to get anything accomplished.”\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute concert at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coroner’s report, obtained by \u003cem>The Mercury News\u003c/em>, revealed previously unknown allegations from Berkeley Police investigators and hospital staff. The report noted that Gaines checked himself in during a mental health crisis during which he experienced suicidal ideation, and was diagnosed with COVID-related pneumonia. According to staff and investigators, prior to his death, Gaines woke up before a CT scan, chased hospital staff through the halls and put a pregnant security guard in a “choke hold.”\u003c/p>\n\u003cp>But family and friends of Zumbi question what happened in those last moments. Those who knew him describe Zumbi as a spiritual practitioner, loving father and kind, supportive friend. [pullquote size='medium' align='right' citation='Carolyn Gaines']‘I am holding steadfast that the institutions responsible for my son’s death will be held accountable.’[/pullquote]\u003c/p>\n\u003cp>“He was just a really great human. They took a really, really, really amazing person from a lot of people,” said Zumbi’s longtime friend Liv Styler, who added that she didn’t know him to have serious mental health issues. She and others are demanding that the hospital release its security footage.\u003c/p>\n\u003cp>“If he was having a mental health episode, crisis, whatever, he should still be alive,” said Styler. “No matter what version of a mental health situation he was in at the time, they decided it was OK to take his life.”\u003c/p>\n\u003cp>Styler, an activist and \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">independent journalist\u003c/a>, said on Tuesday that the incident points to a larger issue: the difficulty in holding private security guards — who have little use-of-force training, and no public oversight — accountable for deaths and injuries. (A \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">new California law\u003c/a> will require use-of-force standards and training for private security in 2023.)\u003c/p>\n\u003cp>Styler is frustrated by the lack of transparency in the investigation. “None of this has been handled well, and no one in the system is ever forced to really think about the kind of detriment that they do to the people who are actually impacted on a day-to-day basis after someone is murdered,” she said. “But for those of us that are still here, it’s like watching him die over and over again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Styler and others are compiling tributes, and possible future calls to action, on a recently created \u003ca href=\"https://www.instagram.com/justice_for_zumbi/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Zumbi\u003c/a> Instagram account.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story has been updated. \u003c/em>\u003c/p>\n\u003cp>Criminal charges may still be filed for the death of popular Bay Area hip-hop artist Stephen Gaines, best known as Baba Zumbi of the duo Zion I.\u003c/p>\n\u003cp>Gaines died at Alta Bates Summit Medical Center in Berkeley on Aug. 13, 2021, after being held down by three hospital security guards and handcuffed by Berkeley Police officers while unconscious. Berkeley Police investigated the case as a homicide, but did not announce suspects or make arrests.\u003c/p>\n\u003cp>\u003ca href=\"https://www.mercurynews.com/2022/09/30/exclusive-zion-i-rapper-zumbis-death-ruled-a-homicide-but-no-criminal-charges-will-be-filed/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Mercury News\u003c/em>\u003c/a> reported last week that the Alameda Country District Attorney’s office had declined to pursue criminal charges despite the death being ruled a homicide. But Wednesday, after meeting with District Attorney Nancy O’Malley, Gaines’ mother, Carolyn Gaines, and her lawyer, Elizabeth Grossman, released a statement that the D.A. still could bring criminal charges. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the same statement, Grossman echoed the possibility of criminal charges. “I spoke directly with Nancy O’Malley today and a final decision has not been made,” she said.\u003c/p>\n\u003cp>The district attorney’s office confirmed this development. “We are looking at potential new information. That’s all we can say at this time,” a spokesperson for the district attorney told KQED on Wednesday. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The circumstances surrounding Zumbi’s death have been shrouded in secrecy. Over the past year, KQED repeatedly requested interviews with the Berkeley Police Department and the Alameda County Coroner’s Bureau and did not receive a response, even after Berkeley Police concluded their investigation in August 2022. BPD also denied KQED’s public records request for officer body camera footage from the incident.\u003c/p>\n\u003cp>The slowness of the investigation and lack of transparency has frustrated Zumbi’s loved ones. “I’m infuriated. I’m mad and angry and sad, but I’m not surprised,” said rapper and activist Equipto, Zumbi’s close friend and collaborator, in an interview in August, adding: “I think people power is really the only way that we’re really going to get anything accomplished.”\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute concert at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coroner’s report, obtained by \u003cem>The Mercury News\u003c/em>, revealed previously unknown allegations from Berkeley Police investigators and hospital staff. The report noted that Gaines checked himself in during a mental health crisis during which he experienced suicidal ideation, and was diagnosed with COVID-related pneumonia. According to staff and investigators, prior to his death, Gaines woke up before a CT scan, chased hospital staff through the halls and put a pregnant security guard in a “choke hold.”\u003c/p>\n\u003cp>But family and friends of Zumbi question what happened in those last moments. Those who knew him describe Zumbi as a spiritual practitioner, loving father and kind, supportive friend. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was just a really great human. They took a really, really, really amazing person from a lot of people,” said Zumbi’s longtime friend Liv Styler, who added that she didn’t know him to have serious mental health issues. She and others are demanding that the hospital release its security footage.\u003c/p>\n\u003cp>“If he was having a mental health episode, crisis, whatever, he should still be alive,” said Styler. “No matter what version of a mental health situation he was in at the time, they decided it was OK to take his life.”\u003c/p>\n\u003cp>Styler, an activist and \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">independent journalist\u003c/a>, said on Tuesday that the incident points to a larger issue: the difficulty in holding private security guards — who have little use-of-force training, and no public oversight — accountable for deaths and injuries. (A \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">new California law\u003c/a> will require use-of-force standards and training for private security in 2023.)\u003c/p>\n\u003cp>Styler is frustrated by the lack of transparency in the investigation. “None of this has been handled well, and no one in the system is ever forced to really think about the kind of detriment that they do to the people who are actually impacted on a day-to-day basis after someone is murdered,” she said. “But for those of us that are still here, it’s like watching him die over and over again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Styler and others are compiling tributes, and possible future calls to action, on a recently created \u003ca href=\"https://www.instagram.com/justice_for_zumbi/\" target=\"_blank\" rel=\"noopener noreferrer\">Justice for Zumbi\u003c/a> Instagram account.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sacheen Littlefeather, Who Gave Marlon Brando's Oscar Rejection Speech, Dies at 75",
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"content": "\u003cp>Sacheen Littlefeather, the Native American actress and activist who declined Marlon Brando’s best actor Oscar in 1973, has died, the Academy of Motion Picture Arts and Sciences announced Sunday night. She was 75.\u003c/p>\n\u003cp>The academy \u003ca href=\"https://twitter.com/TheAcademy/status/1576750133802303490?cxt=HHwWhICwjZH53uErAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> Littlefeather’s death on its Twitter account. No cause of death was immediately given but multiple news outlets reported that Littlefeather had been suffering from breast cancer.\u003c/p>\n\u003cp>https://twitter.com/TheAcademy/status/1576750133802303490?cxt=HHwWhICwjZH53uErAAAA\u003c/p>\n\u003cp>Born Marie Louise Cruz on Nov. 14, 1946 in Salinas, Calif., Littlefeather later changed her name in her 20s as she explored her Native American heritage and became an activist.\u003c/p>\n\u003cp>[aside postid='arts_13917695']On March 27, 1973, she provided one of the most dramatic moments in Oscar history. As Brando’s name was read for winning best actor for his role in \u003cem>The Godfather\u003c/em>, Littlefeather took to the stage wearing moccasins and a buckskin dress to politely offer Brando’s regrets for refusing the award because of Hollywood’s treatment and portrayal of Native Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her speech to decline the Oscar on behalf of Brando was met by a mixture of boos and cheers. She said she saw the actor John Wayne being restrained from rushing the stage while she was on, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Los Angeles Times\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>This past August, \u003ca href=\"https://www.npr.org/2022/08/16/1117762253/academy-apologizes-to-sacheen-littlefeather-for-mistreatment-over-1973-oscar-pro\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Mandalit Del Barco reported\u003c/a> on an interview that Littlefeather gave to member station KQED in 2020 about the speech and its fallout.\u003c/p>\n\u003cp>“People were making money off of that racism of the Hollywood Indian. Of course, they’re going to boo. They don’t want their evening interrupted.”\u003c/p>\n\u003cp>Littlefeather said she was escorted offstage at the Oscars by a team of security guards. She said that for years Hollywood boycotted her, calling it being red listed.\u003c/p>\n\u003cp>[aside postid='news_11818318']Earlier this year and nearly 50 years later, the academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance. In a June letter from former academy President David Rubin, the academy acknowledged the “unwarranted and unjustified” abuse she experienced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brando later acknowledged regret for the position he had put Littlefeather in, according to \u003cem>The Los Angeles\u003c/em> \u003cem>Times\u003c/em>. “I was distressed that people should have booed and whistled and stomped, even though perhaps it was directed at myself,” he told then-talk show host Dick Cavett. “They should have at least had the courtesy to listen to her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacheen+Littlefeather%2C+who+gave+Marlon+Brando%27s+Oscar+rejection+speech%2C+dies+at+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sacheen Littlefeather, the Native American actress and activist who declined Marlon Brando’s best actor Oscar in 1973, has died, the Academy of Motion Picture Arts and Sciences announced Sunday night. She was 75.\u003c/p>\n\u003cp>The academy \u003ca href=\"https://twitter.com/TheAcademy/status/1576750133802303490?cxt=HHwWhICwjZH53uErAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> Littlefeather’s death on its Twitter account. No cause of death was immediately given but multiple news outlets reported that Littlefeather had been suffering from breast cancer.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her speech to decline the Oscar on behalf of Brando was met by a mixture of boos and cheers. She said she saw the actor John Wayne being restrained from rushing the stage while she was on, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Los Angeles Times\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>This past August, \u003ca href=\"https://www.npr.org/2022/08/16/1117762253/academy-apologizes-to-sacheen-littlefeather-for-mistreatment-over-1973-oscar-pro\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Mandalit Del Barco reported\u003c/a> on an interview that Littlefeather gave to member station KQED in 2020 about the speech and its fallout.\u003c/p>\n\u003cp>“People were making money off of that racism of the Hollywood Indian. Of course, they’re going to boo. They don’t want their evening interrupted.”\u003c/p>\n\u003cp>Littlefeather said she was escorted offstage at the Oscars by a team of security guards. She said that for years Hollywood boycotted her, calling it being red listed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier this year and nearly 50 years later, the academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance. In a June letter from former academy President David Rubin, the academy acknowledged the “unwarranted and unjustified” abuse she experienced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brando later acknowledged regret for the position he had put Littlefeather in, according to \u003cem>The Los Angeles\u003c/em> \u003cem>Times\u003c/em>. “I was distressed that people should have booed and whistled and stomped, even though perhaps it was directed at myself,” he told then-talk show host Dick Cavett. “They should have at least had the courtesy to listen to her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacheen+Littlefeather%2C+who+gave+Marlon+Brando%27s+Oscar+rejection+speech%2C+dies+at+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Chaotic Crowd Management, Standout Performances at Portola Festival Debut",
"headTitle": "Chaotic Crowd Management, Standout Performances at Portola Festival Debut | KQED",
"content": "\u003cp>\u003cem>This story was updated to include a statement from Portola Festival organizers. \u003c/em>\u003c/p>\n\u003cp>The inaugural \u003ca href=\"https://portolamusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Portola Festival\u003c/a> promised an exciting weekend of sought-after electronic music acts, including The Chemical Brothers, Flume, M.I.A. and Kaytranada. But when it opened on Sept. 24, things quickly turned hectic. Bottles and cans littered the ground at San Francisco’s Pier 80, and the sounds of them being crushed and kicked became synonymous with the rush of crowds. Fans waited restlessly outside the Warehouse Stage, and at one point on Saturday, they flooded security, climbing up banisters and rushing through lines to catch popular acts inside.\u003c/p>\n\u003cp>The many issues led to discontentment with festival organizers Goldenvoice (the same company that puts on Coachella), with \u003ca href=\"https://sfist.com/2022/09/25/photos-portola-festival-debuts-with-spectacular-shows-but-very-messy-crowd-management/\" target=\"_blank\" rel=\"noopener noreferrer\">fans drawing attention to safety concerns\u003c/a>. And Bay Area residents as far away as Alameda took to social media to complain about noise pollution—one person emailed KQED to share that the bass rattled her windows across the San Francisco Bay.[aside postid=arts_13916410,arts_13919405]\u003c/p>\n\u003cp>Although social media users compared Portola to the deadly Astroworld Festival, which \u003ca href=\"https://www.theguardian.com/music/2021/dec/16/astroworld-festival-deaths-ruled-accidental\" target=\"_blank\" rel=\"noopener noreferrer\">killed 10 people in Houston in 2021\u003c/a>, the San Francisco Police Department told KQED that there were no arrests or reports of injuries due to rushing crowds, and that officers assisted with medical and traffic issues. “We are aware of complaints related to the music, which we will be addressing with the event coordinator,” a public information officer wrote via email.\u003c/p>\n\u003cp>“There was a minimal, isolated issue with a festival stage entrance on Saturday,” Portola organizers wrote in a statement. “This occurred within the confines of the grounds and was quickly addressed and corrected. There were no injuries reported to Medical as a result of this issue. The festival continued for another six hours on day one and the entirety of day two without incident.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the unease on day one, the crowd control improved on Sunday, and Portola still delivered some solid performances. While sound and safety could have definitely used some improvement, the stages were full of energy and invited people to rave and dance at a time when solitude has become the norm. Here are some highlights.\u003c/p>\n\u003cfigure id=\"attachment_13919652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caroline Polachek Blends Electronic Sound with Angelic Vocals\u003c/h2>\n\u003cp>Listening to Caroline Polachek’s maximalist pop feels like walking into a lush garden suspended in space. She contrasts the gentle progression of electronic beats with echoes of choral singing, like voices falling down a well. When she opened her set with “Pang,” she grandly swept her arms up as she sang, creating an atmosphere of dreamy vocalizations and harmonies. The performance embodied what falling in love feels like: “Into me / Pang, and then I go / Into you” and “Tell me what you’re afraid of / Tell me what night is made of / What can I not destroy for you?”\u003c/p>\n\u003cfigure id=\"attachment_13919603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caroline Polachek performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caroline Polachek performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Polachek’s high notes and improvisations at the end of the song jolted the crowd as they danced and shouted along encouragingly with every vocal run. Later in her set, she performed “Bunny is a Rider,” a sensual shift from “Pang” that features a hypnotizing, recurring whistle and harder percussion. Slipping into a sexier energy, Polachek dropped to the floor and swayed her hips as festivalgoers yelled “Fuck it up!” while mirroring her moves.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Charli XCX Proves She is the Queen of Hyperpop\u003c/h2>\n\u003cp>Well before even reaching the festival venue, attendees were vibrating with excitement for Charli XCX’s performance on Saturday evening. Standing shoulder to shoulder inside a packed bus en route to Pier 80, a group of girls giggled in delight after learning that they all loved the English singer. “She’s for the girls and the gays,” one said, laughing.\u003c/p>\n\u003cp>The Warehouse Stage was completely full by the time Charli stepped out, and fans even jumped over barricades to get a spot. They met her with roaring cheers. Eager to match their energy, she called out to the crowd: “Let me see your fucking hands!”\u003c/p>\n\u003cfigure id=\"attachment_13919607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stage was drenched in a palette of psychedelic bubblegum as she strutted and sashayed from corner to corner. The Warehouse soon transformed into an electronic, techno pop club where people danced and jumped, running their hands over their bodies as they channeled the various moods Charli created—namely, lovesick bad girl.\u003c/p>\n\u003cfigure id=\"attachment_13919631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Channel Tres is the ‘Controller’\u003c/h2>\n\u003cp>In the darkness of the Warehouse Stage, Channel Tres arrived in a glittery silver robe, sauntering across the stage with the regality of a king. Ushered in by an entourage of dancers, he quietly regarded the audience as they erupted in cheers and applause.\u003c/p>\n\u003cp>Throughout his nearly hour-long performance, the Compton artist performed elaborate choreography, not missing a beat as he swayed his hips and rolled his body in unison with his dancers. His distinctly calm baritone voice remained stable as he grooved—singing and rapping with an effortlessness that contradicted the rigorousness of his movements.\u003c/p>\n\u003cfigure id=\"attachment_13919628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He performed a number of older hits including “Black Moses” and “Sexy Black Timberlake,” as well as newer singles like “No Limit” and “fuego,” illustrating his penchant for blending techno and house sensibilities with rap, funk and soul. As he muses in “Black Moses,” “Try to tell me this ain’t Black music / Well it ain’t, it’s Black precision / And I’m precise as they can be, yeah.”\u003c/p>\n\u003cp>With lyrics that ooze with sexuality and confidence, Channel Tres elevated the meaning of his music with a stage presence that is arresting and inviting, sensual and self-assured.\u003c/p>\n\u003cfigure id=\"attachment_13919625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Euphoria of Peggy Gou\u003c/h2>\n\u003cp>Before Berlin-based, South Korean DJ Peggy Gou even entered the DJ booth, festivalgoers were chanting her name. Eager eyes roamed around, searching restlessly for the esteemed producer.\u003c/p>\n\u003cp>When Gou entered, she wordlessly began playing an intense set of hard techno beats as lights flashed, enveloping the room in hues of deep red and green. Friends passed blunts and exchanged kisses, a couple nuzzled and lone attendants closed their eyes, moving their bodies to an ever-evolving beat while packed close against strangers.\u003c/p>\n\u003cfigure id=\"attachment_13919639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chants for Gou returned as she began to play her 2019 single “Starry Night,” a track that blends Korean and English, and stirs a feeling of nostalgia for summer nights spent running through empty, balmy streets. During her hour-long set, time stood still. The air was sweet with a feeling of ease and liberation. In this hour, Gou transmitted joy throughout the room—and it was unbridled and all consuming.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Nastia Voynovskaya contributed reporting to this story.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13919623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SG Lewis performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chemical Brothers headline Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Shadow performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Shadow performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jungle performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flume headlines Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flume headlines Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flume headlines Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jungle performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jungle performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919619\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Reports comparing the festival to Astroworld appear to be exaggerated.",
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"twTitle": "Portola Festival Debuts with Chaotic Crowds, Standout Performances by Caroline Polachek, Charli XCX and More",
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"description": "Reports comparing the festival to Astroworld appear to be exaggerated.",
"title": "Portola Festival Review: Chaotic Crowds, Standout Performances | KQED",
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"headline": "Chaotic Crowd Management, Standout Performances at Portola Festival Debut",
"datePublished": "2022-09-26T11:46:16-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was updated to include a statement from Portola Festival organizers. \u003c/em>\u003c/p>\n\u003cp>The inaugural \u003ca href=\"https://portolamusicfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Portola Festival\u003c/a> promised an exciting weekend of sought-after electronic music acts, including The Chemical Brothers, Flume, M.I.A. and Kaytranada. But when it opened on Sept. 24, things quickly turned hectic. Bottles and cans littered the ground at San Francisco’s Pier 80, and the sounds of them being crushed and kicked became synonymous with the rush of crowds. Fans waited restlessly outside the Warehouse Stage, and at one point on Saturday, they flooded security, climbing up banisters and rushing through lines to catch popular acts inside.\u003c/p>\n\u003cp>The many issues led to discontentment with festival organizers Goldenvoice (the same company that puts on Coachella), with \u003ca href=\"https://sfist.com/2022/09/25/photos-portola-festival-debuts-with-spectacular-shows-but-very-messy-crowd-management/\" target=\"_blank\" rel=\"noopener noreferrer\">fans drawing attention to safety concerns\u003c/a>. And Bay Area residents as far away as Alameda took to social media to complain about noise pollution—one person emailed KQED to share that the bass rattled her windows across the San Francisco Bay.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although social media users compared Portola to the deadly Astroworld Festival, which \u003ca href=\"https://www.theguardian.com/music/2021/dec/16/astroworld-festival-deaths-ruled-accidental\" target=\"_blank\" rel=\"noopener noreferrer\">killed 10 people in Houston in 2021\u003c/a>, the San Francisco Police Department told KQED that there were no arrests or reports of injuries due to rushing crowds, and that officers assisted with medical and traffic issues. “We are aware of complaints related to the music, which we will be addressing with the event coordinator,” a public information officer wrote via email.\u003c/p>\n\u003cp>“There was a minimal, isolated issue with a festival stage entrance on Saturday,” Portola organizers wrote in a statement. “This occurred within the confines of the grounds and was quickly addressed and corrected. There were no injuries reported to Medical as a result of this issue. The festival continued for another six hours on day one and the entirety of day two without incident.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the unease on day one, the crowd control improved on Sunday, and Portola still delivered some solid performances. While sound and safety could have definitely used some improvement, the stages were full of energy and invited people to rave and dance at a time when solitude has become the norm. Here are some highlights.\u003c/p>\n\u003cfigure id=\"attachment_13919652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Caroline Polachek Blends Electronic Sound with Angelic Vocals\u003c/h2>\n\u003cp>Listening to Caroline Polachek’s maximalist pop feels like walking into a lush garden suspended in space. She contrasts the gentle progression of electronic beats with echoes of choral singing, like voices falling down a well. When she opened her set with “Pang,” she grandly swept her arms up as she sang, creating an atmosphere of dreamy vocalizations and harmonies. The performance embodied what falling in love feels like: “Into me / Pang, and then I go / Into you” and “Tell me what you’re afraid of / Tell me what night is made of / What can I not destroy for you?”\u003c/p>\n\u003cfigure id=\"attachment_13919603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caroline Polachek performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Caroline-Polachek-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caroline Polachek performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Polachek’s high notes and improvisations at the end of the song jolted the crowd as they danced and shouted along encouragingly with every vocal run. Later in her set, she performed “Bunny is a Rider,” a sensual shift from “Pang” that features a hypnotizing, recurring whistle and harder percussion. Slipping into a sexier energy, Polachek dropped to the floor and swayed her hips as festivalgoers yelled “Fuck it up!” while mirroring her moves.\u003c/p>\n\u003cfigure id=\"attachment_13919608\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919608\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Charli XCX Proves She is the Queen of Hyperpop\u003c/h2>\n\u003cp>Well before even reaching the festival venue, attendees were vibrating with excitement for Charli XCX’s performance on Saturday evening. Standing shoulder to shoulder inside a packed bus en route to Pier 80, a group of girls giggled in delight after learning that they all loved the English singer. “She’s for the girls and the gays,” one said, laughing.\u003c/p>\n\u003cp>The Warehouse Stage was completely full by the time Charli stepped out, and fans even jumped over barricades to get a spot. They met her with roaring cheers. Eager to match their energy, she called out to the crowd: “Let me see your fucking hands!”\u003c/p>\n\u003cfigure id=\"attachment_13919607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919607\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Charli-XCX-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stage was drenched in a palette of psychedelic bubblegum as she strutted and sashayed from corner to corner. The Warehouse soon transformed into an electronic, techno pop club where people danced and jumped, running their hands over their bodies as they channeled the various moods Charli created—namely, lovesick bad girl.\u003c/p>\n\u003cfigure id=\"attachment_13919631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Channel Tres is the ‘Controller’\u003c/h2>\n\u003cp>In the darkness of the Warehouse Stage, Channel Tres arrived in a glittery silver robe, sauntering across the stage with the regality of a king. Ushered in by an entourage of dancers, he quietly regarded the audience as they erupted in cheers and applause.\u003c/p>\n\u003cp>Throughout his nearly hour-long performance, the Compton artist performed elaborate choreography, not missing a beat as he swayed his hips and rolled his body in unison with his dancers. His distinctly calm baritone voice remained stable as he grooved—singing and rapping with an effortlessness that contradicted the rigorousness of his movements.\u003c/p>\n\u003cfigure id=\"attachment_13919628\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919628\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919627\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Channel-Tres-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Channel Tres performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He performed a number of older hits including “Black Moses” and “Sexy Black Timberlake,” as well as newer singles like “No Limit” and “fuego,” illustrating his penchant for blending techno and house sensibilities with rap, funk and soul. As he muses in “Black Moses,” “Try to tell me this ain’t Black music / Well it ain’t, it’s Black precision / And I’m precise as they can be, yeah.”\u003c/p>\n\u003cp>With lyrics that ooze with sexuality and confidence, Channel Tres elevated the meaning of his music with a stage presence that is arresting and inviting, sensual and self-assured.\u003c/p>\n\u003cfigure id=\"attachment_13919625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-008.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919640\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Euphoria of Peggy Gou\u003c/h2>\n\u003cp>Before Berlin-based, South Korean DJ Peggy Gou even entered the DJ booth, festivalgoers were chanting her name. Eager eyes roamed around, searching restlessly for the esteemed producer.\u003c/p>\n\u003cp>When Gou entered, she wordlessly began playing an intense set of hard techno beats as lights flashed, enveloping the room in hues of deep red and green. Friends passed blunts and exchanged kisses, a couple nuzzled and lone attendants closed their eyes, moving their bodies to an ever-evolving beat while packed close against strangers.\u003c/p>\n\u003cfigure id=\"attachment_13919639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919639\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Peggy-Gou-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peggy Gou performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chants for Gou returned as she began to play her 2019 single “Starry Night,” a track that blends Korean and English, and stirs a feeling of nostalgia for summer nights spent running through empty, balmy streets. During her hour-long set, time stood still. The air was sweet with a feeling of ease and liberation. In this hour, Gou transmitted joy throughout the room—and it was unbridled and all consuming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Nastia Voynovskaya contributed reporting to this story.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13919623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-006.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919657\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Toro-y-Moi-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-009.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919641\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SG-Lewis-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SG Lewis performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919644\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Chemical-Brothers-headline-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chemical Brothers headline Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919636\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919638\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/James-Blake-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.estefany-Gonzalez004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919634\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022estefany-Gonzalez002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Shadow performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/DJ-Shadow-performs-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Shadow performs at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jungle performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919609\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flume headlines Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919610\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flume headlines Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919611\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Flume-headlines-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flume headlines Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919614\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jungle performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919615\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919615\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Jungle-performs-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jungle performs at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919619\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13919618\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Saturday-Sept.-24-2022.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Portola Music Festival in San Francisco on Saturday, Sept. 24, 2022. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"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.",
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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.",
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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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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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": {
"id": "snap-judgment",
"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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