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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n",
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"excerpt": "A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.",
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"title": "It's Still Raining Game in Northern California | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "with-afrotech-coming-to-oakland-how-to-handle-tourism-responsibly",
"title": "With AfroTech Coming to Oakland, How to Handle Tourism Responsibly?",
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"content": "\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "meet-darren-powell-the-skateboard-re-innovator-of-east-oakland",
"title": "Meet Darren Powell, the Skateboard Re-Innovator of East Oakland",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> get it: tech companies are moving to Oakland. But you can’t tell me “innovation” is coming to town. It’s been here. Man, I grew up watching folks make backpacks out of shoestrings and cereal boxes. On top of being functional, they made it look cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, having backing from a big venture capital firm is respectable and all, but you ever have nothing and needed something? And then use that need to fuel your creative process? And then have your invention turn heads?\u003c/p>\n\u003cp>While there are studies that say \u003ca href=\"https://qz.com/1120131/as-cities-become-more-innovative-they-also-become-more-unequal/\">innovation accelerates inequality\u003c/a>, I’m a firm believer of the inverse: that non-traditional forms of creativity are innate within lower- and working-class folks, especially black folks.\u003c/p>\n\u003cp>Every post-industrial urban American city currently being gutted and refurbished has been home to innovative people. But Oakland, in particular, has a thing about modifying its transportation: from \u003ca href=\"https://www.youtube.com/watch?v=C4QMffMAwAU\" rel=\"noopener\" target=\"_blank\">whistle tips\u003c/a> on car exhaust pipes to shiny wheels on \u003ca href=\"https://www.kqed.org/arts/11447684/video-meet-east-oaklands-scraper-bike-team\" rel=\"noopener\" target=\"_blank\">scraper bikes\u003c/a>, this town has a knack for recreating the wheel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Larry Stevenson invented the skateboard in 1963, he could never have foreseen someone taking his piece of wood attached to four wheels and remixing it to look like a mini Mercedes Maybach automobile—complete with a slappin’-ass sound system and fully functioning pop-up TV screens. But Darren Powell has done that.\u003c/p>\n\u003cp>You might’ve seen one of his creations around town or in Droop-E & E40’s \u003ca href=\"https://youtu.be/fDUTa_Pi5Cc?t=103\">“Give Me a Light” music video.\u003c/a> Or maybe you’ve seen him on social media, where there’s plenty videos of Powell floating around town on his futuristic skateboards. “\u003ca href=\"https://twitter.com/AlexinOak/status/1032607756086206466\">There is no place like Oakland\u003c/a>,” one post says.\u003c/p>\n\u003cp>https://twitter.com/AlexinOak/status/1032607756086206466\u003c/p>\n\u003cp>Beyond their cool-looking exterior, Powell’s creation caught my eye for crisscrossing some significant storylines of the day: the current price of gas, complaints about \u003ca href=\"https://thebolditalic.com/oaklands-potholes-a-symbol-of-the-town-s-neighborhood-disparity-4de61413908a\">potholes in Oakland\u003c/a>, the development of \u003ca href=\"https://sf.streetsblog.org/2018/10/09/eyes-on-the-street-oaklands-new-dot-builds-some-sweet-protected-bikeways/\">citywide bike lanes\u003c/a> and, of course, the discussion about tech coming to town.\u003c/p>\n\u003cp>It also reaffirmed what I already knew: that in the shadow of whatever Silicon Valley has going on, the application of technology and innovation is something that’s been in the hood since day one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Powell is a middle-aged African American man with cornrows who lives in East Oakland. When he welcomed me into his home, wearing a Kaepernick jersey, he walked me past a showroom-slash-storage room of perfectly lined up skateboards, some battery-powered and some manual. All colorful. A Batman logo on a Batmobile looking board, and the wrapping from \u003cem>Soul Plane\u003c/em> on another. Powell handed me a ginger root beer, gutted a cigarillo and started with his origin story.\u003c/p>\n\u003cp>Professionally, Powell does architectural design. He says he’s always been a do-it-yourselfer. And his earliest memories of creating come from his brother.\u003c/p>\n\u003cp>“My older brother Quincy, he was the inventor as a kid,” Powell said, leaning up against the kitchen counter and using scissors to break down some weed. “I ended up being the inventor and he ended up going to the pen.”\u003c/p>\n\u003cp>Powell, who was raised in East Palo Alto (or “Scrilla-Con Valley,” as he calls it), said his older brother could make anything out of anything. “He’d gut my sister’s dolls and put a motor in them,” he said. But the real inspiration for Powell’s work came from the 1992 movie \u003cem>Freejack,\u003c/em> starring Emilio Estevez, Rene Russo and Mick Jagger.\u003c/p>\n\u003cp>In the movie, Mick Jagger’s character time-travels to kidnap Emilio Estevez’s character, and brings him to an old dude played by Anthony Hopkins who wants his consciousness downloaded onto a much younger and healthy body.\u003c/p>\n\u003cp>This idea inspired the name of Powell’s company, Free Jac Nation.\u003c/p>\n\u003cp>“Freejacking is when you take something and flip it, and take it to the next level,” said Powell.\u003c/p>\n\u003cp>“So, with skateboards, I freejacked it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857312\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>owell first freejacked a vest with translucent pockets, tailored to hold cell phones in the front and tablets on the back. His next invention was a Bluetooth-enabled skateboard.\u003c/p>\n\u003cp>“And then I said, I want to make this skateboard that’s shaped like a car,” said Powell, taking a pull from his blunt has he talked.\u003c/p>\n\u003cp>To make his boards, Powell uses PVC, some plastic and an original mold that he made and patented. He then sends it to a company that stretches the PVC material, and the individual boards are made.\u003c/p>\n\u003cp>“It’s like Build-a-Bear workshop,” said Powell, passing me the herb. “You can order whatever color stickers, and I’ll custom make it, regular or electric…the other part is this: it comes in a kit.”\u003c/p>\n\u003cp>I exhaled and then asked: does that mean people can make their own skateboards?\u003c/p>\n\u003cp>“Yeah,” Powell exclaimed. “The hobby shops are going to love me!”\u003c/p>\n\u003cp>The DIY boards are the lower-end skateboards; he has some that are fully custom made and cost a bit more. Powell told me his skateboards go from $99 to $19,000.\u003c/p>\n\u003cp>Of the pricier skateboards, Powell said, “those are custom, there’s a lot of work that goes into them. I call myself the Chanel bag of skateboards. If you buy Jordans, you’ll buy my skateboards. If you buy a Gucci backpack, you’ll buy my skateboards—and you’ll take care of them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>owell has yet to sell any of the high-end boards, but that may change soon. He’s been in contact with Lil Wayne about them, Snoop Dogg has posted one on social media, and he has E-40’s signature on a Slurricane-themed board. He’s working to get Rick Ross to sign his Maybach one.\u003c/p>\n\u003cp>Meanwhile, he’s sold over a dozen lower-end models and counting. Some of his battery-powered skateboards, which are controlled by handheld remotes, have dual battery packs. He told me the top speed he’s hit is around 25 mph, on his Volkswagen Bus modeled board, which has two motors.\u003c/p>\n\u003cp>I damn near blew his high when I asked if he’s fallen off of his board before. “Potholes!” Powell said, as if identifying the enemy. “You’ve got to really look out, my eyes are always on the move: potholes, doors, everyone else,” said Powell. (One time he fell, “I just popped off the goddamn skateboard and was cussing at these damn Oakland streets. Man, these are some raggedy-ass streets. But they’re starting to get better.”)\u003c/p>\n\u003cp>Powell’s a fan of the developing system of citywide bike lanes, and sees the need for changes to the traffic system in Oakland. He lives just blocks from where Alma Soraya Vasquez, and her 6 year-old son Angel Garcia-Vasquez were killed during a \u003ca href=\"https://www.nbcbayarea.com/news/local/Mother-and-7-Year-Old-Son-Dead-After-Hit-and-Run-Collision-508557251.html\">hit-and-run\u003c/a> accident last month.\u003c/p>\n\u003cp>Powell’s creations are just another push for alternative modes of transportation in the urban arena, an addition to the \u003ca href=\"https://www.kqed.org/pop/103762/electric-scooters-are-changing-the-fabric-of-society-says-twitter\" rel=\"noopener\" target=\"_blank\">flood of electric scooters\u003c/a> and the forthcoming \u003ca href=\"http://www.actransit.org/brt/\" rel=\"noopener\" target=\"_blank\">high-speed bus lines\u003c/a>. Those are clear signs that “technology” is coming to Oakland. Powell’s creations are a sign that innovation has been here.\u003c/p>\n\u003cp>Powell’s just getting started—again, he hasn’t sold a single high-end board. But that doesn’t phase him. “If there’s ever a skateboard hall of fame, I might just donate them,” Powell told me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I looked it up, and there is a \u003ca href=\"http://www.skateboardinghalloffame.org/\" rel=\"noopener\" target=\"_blank\">Skateboarding Hall of Fame and Museum\u003c/a> in Southern California. But I hope he doesn’t donate his creations. I’d much rather see Rick Ross riding one in a video.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> get it: tech companies are moving to Oakland. But you can’t tell me “innovation” is coming to town. It’s been here. Man, I grew up watching folks make backpacks out of shoestrings and cereal boxes. On top of being functional, they made it look cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, having backing from a big venture capital firm is respectable and all, but you ever have nothing and needed something? And then use that need to fuel your creative process? And then have your invention turn heads?\u003c/p>\n\u003cp>While there are studies that say \u003ca href=\"https://qz.com/1120131/as-cities-become-more-innovative-they-also-become-more-unequal/\">innovation accelerates inequality\u003c/a>, I’m a firm believer of the inverse: that non-traditional forms of creativity are innate within lower- and working-class folks, especially black folks.\u003c/p>\n\u003cp>Every post-industrial urban American city currently being gutted and refurbished has been home to innovative people. But Oakland, in particular, has a thing about modifying its transportation: from \u003ca href=\"https://www.youtube.com/watch?v=C4QMffMAwAU\" rel=\"noopener\" target=\"_blank\">whistle tips\u003c/a> on car exhaust pipes to shiny wheels on \u003ca href=\"https://www.kqed.org/arts/11447684/video-meet-east-oaklands-scraper-bike-team\" rel=\"noopener\" target=\"_blank\">scraper bikes\u003c/a>, this town has a knack for recreating the wheel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen Larry Stevenson invented the skateboard in 1963, he could never have foreseen someone taking his piece of wood attached to four wheels and remixing it to look like a mini Mercedes Maybach automobile—complete with a slappin’-ass sound system and fully functioning pop-up TV screens. But Darren Powell has done that.\u003c/p>\n\u003cp>You might’ve seen one of his creations around town or in Droop-E & E40’s \u003ca href=\"https://youtu.be/fDUTa_Pi5Cc?t=103\">“Give Me a Light” music video.\u003c/a> Or maybe you’ve seen him on social media, where there’s plenty videos of Powell floating around town on his futuristic skateboards. “\u003ca href=\"https://twitter.com/AlexinOak/status/1032607756086206466\">There is no place like Oakland\u003c/a>,” one post says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyond their cool-looking exterior, Powell’s creation caught my eye for crisscrossing some significant storylines of the day: the current price of gas, complaints about \u003ca href=\"https://thebolditalic.com/oaklands-potholes-a-symbol-of-the-town-s-neighborhood-disparity-4de61413908a\">potholes in Oakland\u003c/a>, the development of \u003ca href=\"https://sf.streetsblog.org/2018/10/09/eyes-on-the-street-oaklands-new-dot-builds-some-sweet-protected-bikeways/\">citywide bike lanes\u003c/a> and, of course, the discussion about tech coming to town.\u003c/p>\n\u003cp>It also reaffirmed what I already knew: that in the shadow of whatever Silicon Valley has going on, the application of technology and innovation is something that’s been in the hood since day one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Powell is a middle-aged African American man with cornrows who lives in East Oakland. When he welcomed me into his home, wearing a Kaepernick jersey, he walked me past a showroom-slash-storage room of perfectly lined up skateboards, some battery-powered and some manual. All colorful. A Batman logo on a Batmobile looking board, and the wrapping from \u003cem>Soul Plane\u003c/em> on another. Powell handed me a ginger root beer, gutted a cigarillo and started with his origin story.\u003c/p>\n\u003cp>Professionally, Powell does architectural design. He says he’s always been a do-it-yourselfer. And his earliest memories of creating come from his brother.\u003c/p>\n\u003cp>“My older brother Quincy, he was the inventor as a kid,” Powell said, leaning up against the kitchen counter and using scissors to break down some weed. “I ended up being the inventor and he ended up going to the pen.”\u003c/p>\n\u003cp>Powell, who was raised in East Palo Alto (or “Scrilla-Con Valley,” as he calls it), said his older brother could make anything out of anything. “He’d gut my sister’s dolls and put a motor in them,” he said. But the real inspiration for Powell’s work came from the 1992 movie \u003cem>Freejack,\u003c/em> starring Emilio Estevez, Rene Russo and Mick Jagger.\u003c/p>\n\u003cp>In the movie, Mick Jagger’s character time-travels to kidnap Emilio Estevez’s character, and brings him to an old dude played by Anthony Hopkins who wants his consciousness downloaded onto a much younger and healthy body.\u003c/p>\n\u003cp>This idea inspired the name of Powell’s company, Free Jac Nation.\u003c/p>\n\u003cp>“Freejacking is when you take something and flip it, and take it to the next level,” said Powell.\u003c/p>\n\u003cp>“So, with skateboards, I freejacked it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857312\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>owell first freejacked a vest with translucent pockets, tailored to hold cell phones in the front and tablets on the back. His next invention was a Bluetooth-enabled skateboard.\u003c/p>\n\u003cp>“And then I said, I want to make this skateboard that’s shaped like a car,” said Powell, taking a pull from his blunt has he talked.\u003c/p>\n\u003cp>To make his boards, Powell uses PVC, some plastic and an original mold that he made and patented. He then sends it to a company that stretches the PVC material, and the individual boards are made.\u003c/p>\n\u003cp>“It’s like Build-a-Bear workshop,” said Powell, passing me the herb. “You can order whatever color stickers, and I’ll custom make it, regular or electric…the other part is this: it comes in a kit.”\u003c/p>\n\u003cp>I exhaled and then asked: does that mean people can make their own skateboards?\u003c/p>\n\u003cp>“Yeah,” Powell exclaimed. “The hobby shops are going to love me!”\u003c/p>\n\u003cp>The DIY boards are the lower-end skateboards; he has some that are fully custom made and cost a bit more. Powell told me his skateboards go from $99 to $19,000.\u003c/p>\n\u003cp>Of the pricier skateboards, Powell said, “those are custom, there’s a lot of work that goes into them. I call myself the Chanel bag of skateboards. If you buy Jordans, you’ll buy my skateboards. If you buy a Gucci backpack, you’ll buy my skateboards—and you’ll take care of them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>owell has yet to sell any of the high-end boards, but that may change soon. He’s been in contact with Lil Wayne about them, Snoop Dogg has posted one on social media, and he has E-40’s signature on a Slurricane-themed board. He’s working to get Rick Ross to sign his Maybach one.\u003c/p>\n\u003cp>Meanwhile, he’s sold over a dozen lower-end models and counting. Some of his battery-powered skateboards, which are controlled by handheld remotes, have dual battery packs. He told me the top speed he’s hit is around 25 mph, on his Volkswagen Bus modeled board, which has two motors.\u003c/p>\n\u003cp>I damn near blew his high when I asked if he’s fallen off of his board before. “Potholes!” Powell said, as if identifying the enemy. “You’ve got to really look out, my eyes are always on the move: potholes, doors, everyone else,” said Powell. (One time he fell, “I just popped off the goddamn skateboard and was cussing at these damn Oakland streets. Man, these are some raggedy-ass streets. But they’re starting to get better.”)\u003c/p>\n\u003cp>Powell’s a fan of the developing system of citywide bike lanes, and sees the need for changes to the traffic system in Oakland. He lives just blocks from where Alma Soraya Vasquez, and her 6 year-old son Angel Garcia-Vasquez were killed during a \u003ca href=\"https://www.nbcbayarea.com/news/local/Mother-and-7-Year-Old-Son-Dead-After-Hit-and-Run-Collision-508557251.html\">hit-and-run\u003c/a> accident last month.\u003c/p>\n\u003cp>Powell’s creations are just another push for alternative modes of transportation in the urban arena, an addition to the \u003ca href=\"https://www.kqed.org/pop/103762/electric-scooters-are-changing-the-fabric-of-society-says-twitter\" rel=\"noopener\" target=\"_blank\">flood of electric scooters\u003c/a> and the forthcoming \u003ca href=\"http://www.actransit.org/brt/\" rel=\"noopener\" target=\"_blank\">high-speed bus lines\u003c/a>. Those are clear signs that “technology” is coming to Oakland. Powell’s creations are a sign that innovation has been here.\u003c/p>\n\u003cp>Powell’s just getting started—again, he hasn’t sold a single high-end board. But that doesn’t phase him. “If there’s ever a skateboard hall of fame, I might just donate them,” Powell told me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I looked it up, and there is a \u003ca href=\"http://www.skateboardinghalloffame.org/\" rel=\"noopener\" target=\"_blank\">Skateboarding Hall of Fame and Museum\u003c/a> in Southern California. But I hope he doesn’t donate his creations. I’d much rather see Rick Ross riding one in a video.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars",
"headTitle": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars | KQED",
"content": "\u003cp>On Sept. 15–16 at Oakland’s Coliseum grounds, a poster of P-Lo, the hyphy heartthrob, greeted Rolling Loud’s thousands of attendees as they entered the venue to witness an intergenerational lineup of Bay Area rappers and industry heavyweights like Travis Scott and Pusha T.\u003c/p>\n\u003cp>“The Bay is very important to the history of hip-hop,” Tariq Cherif, co-founder of Rolling Loud, told KQED Arts. “You know, a lot of the modern independent hip-hop scene was built and modeled after what guys in the Bay were doing.”\u003c/p>\n\u003cp>Since its debut in 2015, Rolling Loud has become the world’s largest traveling hip-hop festival, with editions in Miami and Los Angeles. But in 2017, its inaugural Bay Area event at Shoreline Amphitheater didn’t go off without a hitch: beloved Berkeley rapper Lil B was physically assaulted, allegedly by another rapper’s entourage, and some Bay Area rap fans and promoters lambasted the event online as a result.\u003c/p>\n\u003cp>Rolling Loud 2018 in Oakland, however, took a different tone: the two-day festival celebrated and uplifted the Bay Area’s regional sounds, with high-energy performances by over a dozen Northern California artists, including E-40, Kamaiyah, Saweetie, P-Lo, Mozzy and ALLBLACK.\u003c/p>\n\u003cp>[contextly_sidebar id=”dHZsarkx1OlSZd4KoCbxjiyUAUy2DwXc”]\u003c/p>\n\u003cp>The critical mass of Bay Area and Sacramento artists kept the fest from feeling generic and gave it a distinctively local flavor. Without these acts, Rolling Loud Oakland would have blended in with the festival’s other editions, where Travis Scott, Young Thug and Jaden Smith have already performed. The crowd looked familiar, too: neon fanny packs, NBA jerseys and white-girl cornrows resembled Instagram in real life. And as it often happens at music festivals, many non-black concertgoers seemed to feel disconcertingly at ease saying the n-word as they rapped along with their favorite artists.\u003c/p>\n\u003cfigure id=\"attachment_13840951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840951\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0312-800x533.jpg\" alt=\"ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Rolling Loud’s Saturday kick-off, ALLBLACK didn’t let fans forget they were at a show in East Oakland, his home turf. He’s an emerging regional star on his way towards carrying Oakland’s sound beyond the 510. His set narrated his life experiences as a black man growing up in a neighborhood called the Murder Dubs, with an aggressive flow that blends the Town’s earlier music movements of mobb and hyphy into a forceful signature sound.[contextly_sidebar id=”CJzT37B5wN3POJuedBwhEnUML2PNFOi1″]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>P-Lo, fresh off of a national tour with Oakland-born chart-topper G-Eazy, performed an energetic homecoming set. His memorable line from his track “Put Me on Somethin’,” “Last year they ain’t even like the Bay,” served as a reminder of the Bay Area’s fight for recognition in the national music scene. After the hyphy movement, the Bay’s relationship to mainstream hip-hop weakened. But the recent rise of artists like G-Eazy, Kamaiyah and Saweetie, all of whom have major label deals, indicates a shift. Bay Area artists have long fought for a seat at the table, and the numerous local artists at Rolling Loud certainly felt like a step in that direction.\u003c/p>\n\u003cp>When G-Eazy joined P-Lo to perform their collaborative Bay Area anthem, “Power,” P-Lo shouted to the crowd, “You proud to be from the Bay… because I’m reppin proud Bay Area sh-t.” He and his DJ, Cal-A, tore up the crowd like only some boys from the Bay could, gigging in the audience as they closed their set. To the side of the stage, members of HBK Gang and ALLBLACK went dumb in solidarity.\u003c/p>\n\u003cp>Later, Saweetie and Guapdad 4000 performed an unreleased collaboration during the “Icy Girl” rapper’s set; the sense of community among the local artists was palpable. For a weekend, Bay Area rappers set aside differences and performed as a united front as the industry’s underdogs, holding their own among a roster of mainstream artists.\u003c/p>\n\u003cfigure id=\"attachment_13840924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0879-800x533.jpg\" alt=\"Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Rolling Loud featured a notable increase of female rappers, including Kamaiyah, the reigning queen of the Bay Area rap scene.“I f-cking made it in Oakland, we ain’t never seen anything like this before,” she said as she opened her set. She grew up not far from the Coliseum, on 73rd Avenue.\u003c/p>\n\u003cp>Mozzy’s set linked his hometown of Sacramento to the Bay; he brought out “Do Better” rapper Prezi, who reps San Francisco’s Hunters Point. North Oakland’s Mistah F.A.B, a crucial figure in the Bay Area rap scene, came out during Mozzy’s performance to show the crowd how to “Ghost Ride It” with his instructional hyphy-era anthem.\u003c/p>\n\u003cp>“Them Bay Area rappers is legendary to me, I got F.A.B. coming out on my set,” Mozzy told KQED Arts backstage. “Rappers ain’t show nothing but love and I’m appreciative to take the stage after so many that have came before me.”\u003c/p>\n\u003cfigure id=\"attachment_13840899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0296-800x533.jpg\" alt=\"G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40, godfather of Bay Area hip-hop, brought the spirit of the hyphy movement to Rolling Loud with “Tell Me When To Go.” As he spat the famous lines, “Jesus Christ had dreads / So shake ’em,” a new generation of Bay Area rappers, Kamaiyah and Slimmy B of SOB x RBE, watched in awe. When P-Lo and Nef The Pharaoh joined E-40 on stage to play “Bling Blaow” and “Put Me On Somethin’,” the joyful performance resembled a symbolic passing of the torch.[contextly_sidebar id=”Kx4Gqc1kCXqX2BJ2NuTXAqwsgKHdGca1″]\u003c/p>\n\u003cp>At Rolling Loud, Bay Area rappers proudly defined their space in a culture where their contributions have been historically ignored. The authentic sounds of the Bay transformed Rolling Loud, the world’s largest hip-hop festival, into a weekend in East Oakland where the region’s rap stars truly shone among a lineup of mainstream acts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Rolling Loud\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0188-800x533.jpg\" alt=\"Saweetie plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie plays Rolling Loud Bay Area in Oakland onSept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0486-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0272-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0330-800x533.jpg\" alt=\"Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0377-800x533.jpg\" alt=\"Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0438-800x533.jpg\" alt=\"Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0459-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0472-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0504-800x533.jpg\" alt=\"Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0531-800x533.jpg\" alt=\"Gucci Mane plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gucci Mane plays Rolling Loud Bay Area in Oakland on Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0633-800x533.jpg\" alt=\"Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1201-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1186-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1157-800x533.jpg\" alt=\"Rae Sremmurd play Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rae Sremmurd play Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1133-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1127-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1085-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1066-2-800x533.jpg\" alt=\"Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1021-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0969-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1002-800x533.jpg\" alt=\"P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0946-800x533.jpg\" alt=\"Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0929-800x533.jpg\" alt=\"Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840926\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0903-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0732-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0899-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0825-800x533.jpg\" alt=\"Kamaiyah backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0809-800x533.jpg\" alt=\"Chief Keef plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Keef plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0798-800x533.jpg\" alt=\"Slimmy B backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slimmy B backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0758-800x533.jpg\" alt=\"Berner plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berner plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0747-800x533.jpg\" alt=\"Prezi at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0748-800x533.jpg\" alt=\"Mistah F.A.B. at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0742-800x533.jpg\" alt=\"Marty Grimes at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty Grimes at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Locals like E-40, ALLBLACK, P-Lo and G-Eazy injected the traveling rap fest with a distinctly regional flavor. ",
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"description": "Locals like E-40, ALLBLACK, P-Lo and G-Eazy injected the traveling rap fest with a distinctly regional flavor. ",
"title": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars | KQED",
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"headline": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 15–16 at Oakland’s Coliseum grounds, a poster of P-Lo, the hyphy heartthrob, greeted Rolling Loud’s thousands of attendees as they entered the venue to witness an intergenerational lineup of Bay Area rappers and industry heavyweights like Travis Scott and Pusha T.\u003c/p>\n\u003cp>“The Bay is very important to the history of hip-hop,” Tariq Cherif, co-founder of Rolling Loud, told KQED Arts. “You know, a lot of the modern independent hip-hop scene was built and modeled after what guys in the Bay were doing.”\u003c/p>\n\u003cp>Since its debut in 2015, Rolling Loud has become the world’s largest traveling hip-hop festival, with editions in Miami and Los Angeles. But in 2017, its inaugural Bay Area event at Shoreline Amphitheater didn’t go off without a hitch: beloved Berkeley rapper Lil B was physically assaulted, allegedly by another rapper’s entourage, and some Bay Area rap fans and promoters lambasted the event online as a result.\u003c/p>\n\u003cp>Rolling Loud 2018 in Oakland, however, took a different tone: the two-day festival celebrated and uplifted the Bay Area’s regional sounds, with high-energy performances by over a dozen Northern California artists, including E-40, Kamaiyah, Saweetie, P-Lo, Mozzy and ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The critical mass of Bay Area and Sacramento artists kept the fest from feeling generic and gave it a distinctively local flavor. Without these acts, Rolling Loud Oakland would have blended in with the festival’s other editions, where Travis Scott, Young Thug and Jaden Smith have already performed. The crowd looked familiar, too: neon fanny packs, NBA jerseys and white-girl cornrows resembled Instagram in real life. And as it often happens at music festivals, many non-black concertgoers seemed to feel disconcertingly at ease saying the n-word as they rapped along with their favorite artists.\u003c/p>\n\u003cfigure id=\"attachment_13840951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840951\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0312-800x533.jpg\" alt=\"ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Rolling Loud’s Saturday kick-off, ALLBLACK didn’t let fans forget they were at a show in East Oakland, his home turf. He’s an emerging regional star on his way towards carrying Oakland’s sound beyond the 510. His set narrated his life experiences as a black man growing up in a neighborhood called the Murder Dubs, with an aggressive flow that blends the Town’s earlier music movements of mobb and hyphy into a forceful signature sound.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>P-Lo, fresh off of a national tour with Oakland-born chart-topper G-Eazy, performed an energetic homecoming set. His memorable line from his track “Put Me on Somethin’,” “Last year they ain’t even like the Bay,” served as a reminder of the Bay Area’s fight for recognition in the national music scene. After the hyphy movement, the Bay’s relationship to mainstream hip-hop weakened. But the recent rise of artists like G-Eazy, Kamaiyah and Saweetie, all of whom have major label deals, indicates a shift. Bay Area artists have long fought for a seat at the table, and the numerous local artists at Rolling Loud certainly felt like a step in that direction.\u003c/p>\n\u003cp>When G-Eazy joined P-Lo to perform their collaborative Bay Area anthem, “Power,” P-Lo shouted to the crowd, “You proud to be from the Bay… because I’m reppin proud Bay Area sh-t.” He and his DJ, Cal-A, tore up the crowd like only some boys from the Bay could, gigging in the audience as they closed their set. To the side of the stage, members of HBK Gang and ALLBLACK went dumb in solidarity.\u003c/p>\n\u003cp>Later, Saweetie and Guapdad 4000 performed an unreleased collaboration during the “Icy Girl” rapper’s set; the sense of community among the local artists was palpable. For a weekend, Bay Area rappers set aside differences and performed as a united front as the industry’s underdogs, holding their own among a roster of mainstream artists.\u003c/p>\n\u003cfigure id=\"attachment_13840924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0879-800x533.jpg\" alt=\"Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Rolling Loud featured a notable increase of female rappers, including Kamaiyah, the reigning queen of the Bay Area rap scene.“I f-cking made it in Oakland, we ain’t never seen anything like this before,” she said as she opened her set. She grew up not far from the Coliseum, on 73rd Avenue.\u003c/p>\n\u003cp>Mozzy’s set linked his hometown of Sacramento to the Bay; he brought out “Do Better” rapper Prezi, who reps San Francisco’s Hunters Point. North Oakland’s Mistah F.A.B, a crucial figure in the Bay Area rap scene, came out during Mozzy’s performance to show the crowd how to “Ghost Ride It” with his instructional hyphy-era anthem.\u003c/p>\n\u003cp>“Them Bay Area rappers is legendary to me, I got F.A.B. coming out on my set,” Mozzy told KQED Arts backstage. “Rappers ain’t show nothing but love and I’m appreciative to take the stage after so many that have came before me.”\u003c/p>\n\u003cfigure id=\"attachment_13840899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0296-800x533.jpg\" alt=\"G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40, godfather of Bay Area hip-hop, brought the spirit of the hyphy movement to Rolling Loud with “Tell Me When To Go.” As he spat the famous lines, “Jesus Christ had dreads / So shake ’em,” a new generation of Bay Area rappers, Kamaiyah and Slimmy B of SOB x RBE, watched in awe. When P-Lo and Nef The Pharaoh joined E-40 on stage to play “Bling Blaow” and “Put Me On Somethin’,” the joyful performance resembled a symbolic passing of the torch.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Rolling Loud, Bay Area rappers proudly defined their space in a culture where their contributions have been historically ignored. The authentic sounds of the Bay transformed Rolling Loud, the world’s largest hip-hop festival, into a weekend in East Oakland where the region’s rap stars truly shone among a lineup of mainstream acts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Rolling Loud\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0188-800x533.jpg\" alt=\"Saweetie plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie plays Rolling Loud Bay Area in Oakland onSept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0486-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0272-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0330-800x533.jpg\" alt=\"Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0377-800x533.jpg\" alt=\"Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0438-800x533.jpg\" alt=\"Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0459-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0472-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0504-800x533.jpg\" alt=\"Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0531-800x533.jpg\" alt=\"Gucci Mane plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gucci Mane plays Rolling Loud Bay Area in Oakland on Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0633-800x533.jpg\" alt=\"Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1201-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1186-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1157-800x533.jpg\" alt=\"Rae Sremmurd play Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rae Sremmurd play Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1133-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1127-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1085-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1066-2-800x533.jpg\" alt=\"Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1021-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0969-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1002-800x533.jpg\" alt=\"P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0946-800x533.jpg\" alt=\"Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0929-800x533.jpg\" alt=\"Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840926\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0903-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0732-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0899-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0825-800x533.jpg\" alt=\"Kamaiyah backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0809-800x533.jpg\" alt=\"Chief Keef plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Keef plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0798-800x533.jpg\" alt=\"Slimmy B backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slimmy B backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0758-800x533.jpg\" alt=\"Berner plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berner plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0747-800x533.jpg\" alt=\"Prezi at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0748-800x533.jpg\" alt=\"Mistah F.A.B. at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0742-800x533.jpg\" alt=\"Marty Grimes at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty Grimes at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Nick Cannon is Making a Show About the 'Yay Area' with E-40 and Too Short's Help",
"headTitle": "Nick Cannon is Making a Show About the ‘Yay Area’ with E-40 and Too Short’s Help | KQED",
"content": "\u003cp>With the recent successes of \u003cem>Black Panther\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and \u003cem>Blindspotting\u003c/em>, Oakland is having its Hollywood moment. And now, Nick Cannon, the actor and host of\u003cem> MTV’s Wild ‘N Out\u003c/em>, has his sights set on putting the Bay Area on the silver screen. He recently told TMZ that he’s working on a crime drama called \u003cem>The Yay Area\u003c/em> that he describes as “\u003cem>The Sopranos\u003c/em>-meets-\u003cem>The Wire\u003c/em>.”\u003c/p>\n\u003cp>“When you think about the culture of Northern California, it’s never been expressed from our voice,” he tells \u003ca href=\"http://www.tmz.com/2018/08/14/nick-cannon-e-40-too-short-the-yay-area-new-show/\" target=\"_blank\" rel=\"noopener\">TMZ\u003c/a>. “When everything has so much richness, from the Black Panther Party movement to the culture of hip-hop with E-40 and Too Short—and then really, when you think about Silicon Valley, when you think about everything that goes on from the drug trade to biker gangs to how all the different cultures that come together—is something I have yet to see on television.”\u003c/p>\n\u003cp>Still unsure what the show will be about? Us too. But it reportedly starts filming this fall.\u003c/p>\n\u003cp>Cannon says he’s partnering with E-40 and Too Short to give the show an authentic feel. We’ve reached out to Cannon and E-40’s reps for comment and will update when we hear back.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Cannon says the show will be inspired by the Black Panthers, Silicon Valley, biker gangs and the drug trade. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the recent successes of \u003cem>Black Panther\u003c/em>, \u003cem>Sorry to Bother You\u003c/em> and \u003cem>Blindspotting\u003c/em>, Oakland is having its Hollywood moment. And now, Nick Cannon, the actor and host of\u003cem> MTV’s Wild ‘N Out\u003c/em>, has his sights set on putting the Bay Area on the silver screen. He recently told TMZ that he’s working on a crime drama called \u003cem>The Yay Area\u003c/em> that he describes as “\u003cem>The Sopranos\u003c/em>-meets-\u003cem>The Wire\u003c/em>.”\u003c/p>\n\u003cp>“When you think about the culture of Northern California, it’s never been expressed from our voice,” he tells \u003ca href=\"http://www.tmz.com/2018/08/14/nick-cannon-e-40-too-short-the-yay-area-new-show/\" target=\"_blank\" rel=\"noopener\">TMZ\u003c/a>. “When everything has so much richness, from the Black Panther Party movement to the culture of hip-hop with E-40 and Too Short—and then really, when you think about Silicon Valley, when you think about everything that goes on from the drug trade to biker gangs to how all the different cultures that come together—is something I have yet to see on television.”\u003c/p>\n\u003cp>Still unsure what the show will be about? Us too. But it reportedly starts filming this fall.\u003c/p>\n\u003cp>Cannon says he’s partnering with E-40 and Too Short to give the show an authentic feel. We’ve reached out to Cannon and E-40’s reps for comment and will update when we hear back.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last time the rap festival Rolling Loud came to the Bay Area, it didn’t go off without a hitch. Local rap fans \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/1006962099254276096\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> the \u003ca href=\"http://www.xxlmag.com/news/2017/08/travis-scott-lil-wayne-headline-2017-rolling-loud-bay-area/\" target=\"_blank\" rel=\"noopener\">festival’s booking\u003c/a>, which included few local artists. And A Boogie Wit a Hoodie and his entourage \u003ca href=\"http://www.thefader.com/2017/10/21/lil-b-jumped-at-rolling-loud\" target=\"_blank\" rel=\"noopener\">allegedly jumped beloved Bay Area rapper Lil B\u003c/a> in an altercation backstage; Lil B canceled his set, and told the audience that his equipment was stolen in the fight.\u003c/p>\n\u003cp>Although Rolling Loud organizers didn’t return KQED’s request for comment about the Lil B situation last year when we reached out to their publicist, it seems that they’ve taken the feedback about local talent into account for the festival’s 2018 return to the Bay Area.\u003c/p>\n\u003cp>This year’s Rolling Loud takes place at the Oakland Coliseum on Sept. 15–16. In addition to headlining sets by Wiz Khalifa, Rae Sremmurd and Travis Scott, the lineup includes many notable locals. Established OGs E-40 and Berner made the bill, as well as exciting up-and-comers from the Bay Area and Sacramento, including “Icy Girl” rapper Saweetie; buzzed-about East Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">Allblack\u003c/a>; “Scamboy” rapper and internet comedian \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">Guapdad4000\u003c/a>; Oakland’s reigning rap queen \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>; Sacramento’s Mozzy, who was featured on the \u003cem>Black Panther\u003c/em> soundtrack; and more.\u003c/p>\n\u003cp>Check out the full lineup below. Tickets go on sale July 20.\u003c/p>\n\u003cp>https://twitter.com/RollingLoud/status/1019699658233450496\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last time the rap festival Rolling Loud came to the Bay Area, it didn’t go off without a hitch. Local rap fans \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/1006962099254276096\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> the \u003ca href=\"http://www.xxlmag.com/news/2017/08/travis-scott-lil-wayne-headline-2017-rolling-loud-bay-area/\" target=\"_blank\" rel=\"noopener\">festival’s booking\u003c/a>, which included few local artists. And A Boogie Wit a Hoodie and his entourage \u003ca href=\"http://www.thefader.com/2017/10/21/lil-b-jumped-at-rolling-loud\" target=\"_blank\" rel=\"noopener\">allegedly jumped beloved Bay Area rapper Lil B\u003c/a> in an altercation backstage; Lil B canceled his set, and told the audience that his equipment was stolen in the fight.\u003c/p>\n\u003cp>Although Rolling Loud organizers didn’t return KQED’s request for comment about the Lil B situation last year when we reached out to their publicist, it seems that they’ve taken the feedback about local talent into account for the festival’s 2018 return to the Bay Area.\u003c/p>\n\u003cp>This year’s Rolling Loud takes place at the Oakland Coliseum on Sept. 15–16. In addition to headlining sets by Wiz Khalifa, Rae Sremmurd and Travis Scott, the lineup includes many notable locals. Established OGs E-40 and Berner made the bill, as well as exciting up-and-comers from the Bay Area and Sacramento, including “Icy Girl” rapper Saweetie; buzzed-about East Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">Allblack\u003c/a>; “Scamboy” rapper and internet comedian \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">Guapdad4000\u003c/a>; Oakland’s reigning rap queen \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>; Sacramento’s Mozzy, who was featured on the \u003cem>Black Panther\u003c/em> soundtrack; and more.\u003c/p>\n\u003cp>Check out the full lineup below. Tickets go on sale July 20.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13827918,13827889,13827917,13827916,13827915,13827919,13827914\"]\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>[gallery ids=\"13827896,13827897,13827898,13827899,13827900,13827895\"]\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "BottleRock 2018 Lineup: Bruno Mars, the Killers, Muse, Chainsmokers, More",
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"content": "\u003cp>The lineup for 2018’s BottleRock festival in Napa is here, with Bruno Mars, the Killers and Muse as the three-day festival’s headliners. \u003c/p>\n\u003cp>Other acts at BottleRock this year include the Chainsmokers, Snoop Dogg, Billy Idol, Halsey, Incubus, Thievery Corporation, Bleachers, E-40, Earth Wind & Fire, Bomba Estereo, Tank & the Bangas, Mike D and many more, below. \u003c/p>\n\u003cp>[contextly_sidebar id=”yzlqcJkKnqCCNTmQbX9k5eLCyzScubpl”]\u003c/p>\n\u003cp>Bruno Mars is the clear big-money “get” here, and even though daily schedules haven’t been announced, it’s a safe guess he’ll be Saturday’s headliner, usually reserved for the hugest draw.\u003c/p>\n\u003cp>BottleRock runs May 25–27 at the Napa Valley Expo in Napa. In recent years, it’s grown into its own as a decidedly luxe wine-country festival, vying for a more upscale crowd than other outdoor festivals with Chardonnay tastings and culinary demonstrations. Three-day passes start at $349 and go all the way up through various levels of VIP-ness to $3,900 for a “Platinum Pass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Befitting of Napa, the price point hasn’t kept people away: last year’s sold-out attendance over the three-day weekend was estimated at 120,000. \u003c/p>\n\u003cp>The full lineup is below. Three-day passes go on sale Tuesday, Jan. 9, at 10am. \u003ca href=\"http://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>Bruno Mars\u003cbr>\nThe Killers\u003cbr>\nMuse\u003cbr>\nThe Chainsmokers\u003cbr>\nHalsey\u003cbr>\nSnoop Dogg\u003cbr>\nIncubus\u003cbr>\nEarth, Wind & Fire\u003cbr>\nThe Head and the Heart\u003cbr>\nBilly Idol\u003cbr>\nThievery Corporation\u003cbr>\nPhantogram\u003cbr>\nThe Revivalists\u003cbr>\nBleachers\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nMike D (DJ Set)\u003cbr>\nE-40\u003cbr>\nSt. Paul & The Broken Bones\u003cbr>\nOh Wonder\u003cbr>\nTrombone Shorty & Orleans Avenue\u003cbr>\nSOJA\u003cbr>\nShakey Graves\u003cbr>\nLake Street Dive\u003cbr>\nNatalia Lafourcade\u003cbr>\nLANY\u003cbr>\nManchester Orchestra\u003cbr>\nNahko and Medicine for the People\u003cbr>\nBomba Estéreo\u003cbr>\nThe Record Company\u003cbr>\nAlice Merton\u003cbr>\nThe Struts\u003cbr>\nNew Politics\u003cbr>\nAllen Stone\u003cbr>\nTank and The Bangas\u003cbr>\nWatsky\u003cbr>\nThe White Panda\u003cbr>\nCOIN\u003cbr>\nJacob Banks\u003cbr>\nJ. Roddy Walston And The Business\u003cbr>\nThe Motet\u003cbr>\nNoMBe\u003cbr>\nMondo Cozmo\u003cbr>\nMISSIO\u003cbr>\nLukas Nelson & Promise of the Real\u003cbr>\nAllan Rayman\u003cbr>\nPokey LaFarge\u003cbr>\nWelshly Arms\u003cbr>\nJukebox the Ghost\u003cbr>\nDurand Jones & The Indications\u003cbr>\nDhani Harrison, The Districts\u003cbr>\nMAGIC GIANT\u003cbr>\nAmy Shark\u003cbr>\nGhost of Paul Revere\u003cbr>\nAlex Lahey\u003cbr>\nflor\u003cbr>\nLiz Huett\u003cbr>\nMoonalice\u003cbr>\nCaitlyn Smith\u003cbr>\nThe Aces\u003cbr>\nLow Cut Connie\u003cbr>\nMarty O’Reilly & The Old Soul Orchestra\u003cbr>\nThe Night Game\u003cbr>\nMt. Joy\u003cbr>\nayokay\u003cbr>\nThe Wrecks\u003cbr>\nHundred Handed\u003cbr>\nDan Luke and The Raid\u003cbr>\nBilly Raffoul\u003cbr>\nDean Lewis\u003cbr>\nMatt Maeson\u003cbr>\nJon and Roy\u003cbr>\nPony Bradshaw\u003cbr>\nThe Brevet\u003cbr>\nHamish Anderson\u003cbr>\nEthan Tucker\u003cbr>\nRIVVRS\u003cbr>\nThe Alive\u003cbr>\nDavid Luning\u003cbr>\nThe Knitts\u003cbr>\nDani Bell & The Tarantist\u003cbr>\nTommy Odetto\u003cbr>\nSanho The Indian\u003cbr>\nAnchor + Bell\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for 2018’s BottleRock festival in Napa is here, with Bruno Mars, the Killers and Muse as the three-day festival’s headliners. \u003c/p>\n\u003cp>Other acts at BottleRock this year include the Chainsmokers, Snoop Dogg, Billy Idol, Halsey, Incubus, Thievery Corporation, Bleachers, E-40, Earth Wind & Fire, Bomba Estereo, Tank & the Bangas, Mike D and many more, below. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bruno Mars is the clear big-money “get” here, and even though daily schedules haven’t been announced, it’s a safe guess he’ll be Saturday’s headliner, usually reserved for the hugest draw.\u003c/p>\n\u003cp>BottleRock runs May 25–27 at the Napa Valley Expo in Napa. In recent years, it’s grown into its own as a decidedly luxe wine-country festival, vying for a more upscale crowd than other outdoor festivals with Chardonnay tastings and culinary demonstrations. Three-day passes start at $349 and go all the way up through various levels of VIP-ness to $3,900 for a “Platinum Pass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Befitting of Napa, the price point hasn’t kept people away: last year’s sold-out attendance over the three-day weekend was estimated at 120,000. \u003c/p>\n\u003cp>The full lineup is below. Three-day passes go on sale Tuesday, Jan. 9, at 10am. \u003ca href=\"http://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>Bruno Mars\u003cbr>\nThe Killers\u003cbr>\nMuse\u003cbr>\nThe Chainsmokers\u003cbr>\nHalsey\u003cbr>\nSnoop Dogg\u003cbr>\nIncubus\u003cbr>\nEarth, Wind & Fire\u003cbr>\nThe Head and the Heart\u003cbr>\nBilly Idol\u003cbr>\nThievery Corporation\u003cbr>\nPhantogram\u003cbr>\nThe Revivalists\u003cbr>\nBleachers\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nMike D (DJ Set)\u003cbr>\nE-40\u003cbr>\nSt. Paul & The Broken Bones\u003cbr>\nOh Wonder\u003cbr>\nTrombone Shorty & Orleans Avenue\u003cbr>\nSOJA\u003cbr>\nShakey Graves\u003cbr>\nLake Street Dive\u003cbr>\nNatalia Lafourcade\u003cbr>\nLANY\u003cbr>\nManchester Orchestra\u003cbr>\nNahko and Medicine for the People\u003cbr>\nBomba Estéreo\u003cbr>\nThe Record Company\u003cbr>\nAlice Merton\u003cbr>\nThe Struts\u003cbr>\nNew Politics\u003cbr>\nAllen Stone\u003cbr>\nTank and The Bangas\u003cbr>\nWatsky\u003cbr>\nThe White Panda\u003cbr>\nCOIN\u003cbr>\nJacob Banks\u003cbr>\nJ. Roddy Walston And The Business\u003cbr>\nThe Motet\u003cbr>\nNoMBe\u003cbr>\nMondo Cozmo\u003cbr>\nMISSIO\u003cbr>\nLukas Nelson & Promise of the Real\u003cbr>\nAllan Rayman\u003cbr>\nPokey LaFarge\u003cbr>\nWelshly Arms\u003cbr>\nJukebox the Ghost\u003cbr>\nDurand Jones & The Indications\u003cbr>\nDhani Harrison, The Districts\u003cbr>\nMAGIC GIANT\u003cbr>\nAmy Shark\u003cbr>\nGhost of Paul Revere\u003cbr>\nAlex Lahey\u003cbr>\nflor\u003cbr>\nLiz Huett\u003cbr>\nMoonalice\u003cbr>\nCaitlyn Smith\u003cbr>\nThe Aces\u003cbr>\nLow Cut Connie\u003cbr>\nMarty O’Reilly & The Old Soul Orchestra\u003cbr>\nThe Night Game\u003cbr>\nMt. Joy\u003cbr>\nayokay\u003cbr>\nThe Wrecks\u003cbr>\nHundred Handed\u003cbr>\nDan Luke and The Raid\u003cbr>\nBilly Raffoul\u003cbr>\nDean Lewis\u003cbr>\nMatt Maeson\u003cbr>\nJon and Roy\u003cbr>\nPony Bradshaw\u003cbr>\nThe Brevet\u003cbr>\nHamish Anderson\u003cbr>\nEthan Tucker\u003cbr>\nRIVVRS\u003cbr>\nThe Alive\u003cbr>\nDavid Luning\u003cbr>\nThe Knitts\u003cbr>\nDani Bell & The Tarantist\u003cbr>\nTommy Odetto\u003cbr>\nSanho The Indian\u003cbr>\nAnchor + Bell\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Talking With OMB Peezy, the Bay Area's Missing Link to Southern Rap",
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"content": "\u003cp>OMB Peezy is tired. It’s the fourteenth night of tour, he’s been sleeping in the backseat of a Mercedes Sprinter van all afternoon, and the conspicuous Ziploc bag brought to him by the tour’s merch girl is getting low on contents.\u003c/p>\n\u003cp>Meanwhile, the past eight months have been a whirlwind for the Mobile, Ala.-born rapper. Two days earlier, Wiz Khalifa posted his track “\u003ca href=\"https://www.youtube.com/watch?v=DGHkrFEJ9yc\" target=\"_blank\" rel=\"noopener\">Lay Down\u003c/a>,” adding to the heap of co-signs for Peezy’s addictive, nasal delivery that ebbs and flows more like an Eric Dolphy saxophone solo than a 20-year-old rapper from Sacramento. The week prior, he played a New York showcase that attracted industry veterans, and he’s signed two record deals in six months — one with E-40’s Sic Wit It Records and one with 300 Entertainment, home to heavy hitters like Young Thug, Fetty Wap and Migos.\u003c/p>\n\u003cp>It’s the type of sudden rise that regional rappers dream of, with two anticipated mixtapes on the way: \u003cem>Loyalty Over Love\u003c/em>, a 12-song autobiographical song cycle, and an as-yet-untitled project with producer \u003ca href=\"https://twitter.com/CardoGotWings\" target=\"_blank\" rel=\"noopener\">Cardo\u003c/a> (who’s worked with Kendrick Lamar, Schoolboy Q, Travis Scott and others). While a line of fans snaked down the block two hours before a sold-out show with Vallejo’s \u003ca href=\"https://www.eastbayexpress.com/oakland/sob-x-rbe-is-doing-numbers/Content?oid=8169789\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a> at the Phoenix Theater in Petaluma, Peezy talked to me about growing up in the South, being in jail when his son was born, and what he wants for the future. \u003c/p>\n\u003cfigure id=\"attachment_13785533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-800x533.jpg\" alt=\"OMB Peezy: 'I don’t wanna be havin’ to make myself comfortable in places that I’m not comfortable in.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13785533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OMB Peezy: ‘I don’t wanna be havin’ to make myself comfortable in places that I’m not comfortable in.’ \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How wild has your life been in the last year?\u003c/strong>\u003c/p>\n\u003cp>It’s been crazy. I seen so much in the last 8 months. It was “Lay Down” that made it go through the roof. This shit’s stressful, man — going through all these airlines, all these people, all these shows — but I feel like I’m made for it, so I ain’t trippin’.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You’re from Mobile, Alabama. What was it like growing up there? \u003c/strong>\u003c/p>\n\u003cp>I grew up moving from house to house, the \u003ca href=\"https://www.facebook.com/pages/Orange-Grove-Housing-Projects/369934566386969\" target=\"_blank\" rel=\"noopener\">Orange Grove Projects\u003c/a>, and I left at a young age, like 12, so I ain’t really get to explore the whole of Mobile. I only got to explore the dirty portions, I ain’t get to see no pretty sights and shit, so I can’t really tell you too much. I ain’t really have no childhood. Everybody else getting Christmas presents, everybody else going on field trips. So everything I tell you would be some bad shit, all the way ’til I get out to California. \u003c/p>\n\u003cp>\u003cstrong>What was the biggest culture shock when you moved to the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The people, the accents. The way people talk! I thought people only talked like that on TV.\u003c/p>\n\u003cfigure id=\"attachment_13785535\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Peezy.Standing-800x1200.jpg\" alt=\"OMB Peezy, outside the Phoenix Theater in Petaluma.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13785535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OMB Peezy, outside the Phoenix Theater in Petaluma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were you aware of any Bay Area rap in Alabama?\u003c/strong>\u003c/p>\n\u003cp>Nah. I ain’t know a lot. I knew about E-40, ’cause he was in movies. The music, it was different, but me bein’ Southern, and bein’ that I grew up on so many different types of music, I had an open ear to it, so I grew a likin’ to it. \u003c/p>\n\u003cp>\u003cstrong>You’ve got a kid, don’t you?\u003c/strong>\u003c/p>\n\u003cp>Yeah, I got a son. He gonna be two years old on Aug. 18. Leo, he a little badass. He’s a big motivator for me. I feel like anyone who have a kid, that’s gonna push ’em harder. \u003c/p>\n\u003cp>\u003cstrong>You’re finally coming up on some money and opportunity. What do you want out of life?\u003c/strong>\u003c/p>\n\u003cp>I don’t only wanna be able to take care of my kid — I don’t want him to see me strugglin’. Know what I mean? I want to be comfortable with life, I want to be content with life. I want my son to be comfortable. I don’t wanna be tryin’ to make myself comfortable no more. I don’t wanna be havin’ to \u003cem>make\u003c/em> myself comfortable in places that I’m not comfortable in.\u003c/p>\n\u003cp>\u003cstrong>You’ve said before that you were locked up when your son was born. \u003c/strong>\u003c/p>\n\u003cp>Yeah, I was locked up. That shit wasn’t cool. My son was already a month and a couple days old when I got out. I was happy and mad as hell at the same time. I didn’t even know how to take it, ’cause it was my fault that I was in there — I got caught with a gun. I was in there seven months. \u003c/p>\n\u003cp>\u003cstrong>Your song “\u003ca href=\"https://www.youtube.com/watch?v=oEgtvdCx-24\" target=\"_blank\" rel=\"noopener\">Porch\u003c/a>” is a message to younger people. Why did you make that song?\u003c/strong>\u003c/p>\n\u003cp>I made it ’cause a lot of people listen to music, like when I made “Lay Down,” people listen to it and they wanna do exactly what the song say. I was like, man, that’s good, but be ready for what you’re gettin’ yourself into. I ain’t sayin’ don’t do it, but be mindful of what you’re doin’.\u003c/p>\n\u003cfigure id=\"attachment_13785534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Peezy.Van_-800x533.jpg\" alt=\"OMB Peezy.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13785534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OMB Peezy. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You talk a lot about the people who supported you early on, like with “\u003ca href=\"https://www.youtube.com/watch?v=CKAH7eSB82s\" target=\"_blank\" rel=\"noopener\">When I Was Down\u003c/a>.” What happens when your reality becomes a lot of fame, a lot of money?\u003c/strong>\u003c/p>\n\u003cp>Then I’ll talk about my path to that reality. I don’t forget \u003cem>nothing\u003c/em>. I got a memory like an elephant. And certain shit that happened to me had a big-ass impact on me. You’re gonna hear it in \u003cem>Loyalty Over Love\u003c/em> – that’s what I’m doing, basically, is telling my story. \u003c/p>\n\u003cp>\u003cstrong>People talk about \u003ca href=\"https://en.wikipedia.org/wiki/Boosie_Badazz\" target=\"_blank\" rel=\"noopener\">Boosie\u003c/a> a lot when it comes to your voice. I think there’s a more going on than people give you credit for. \u003c/strong>\u003c/p>\n\u003cp>I think I’m similar to Boosie too, but that ain’t all. I feel like people shouldn’t think when they hear me, “Oh, he sound like Boosie” and just leave it that. “He sound like Boosie, oh, he lyrical, he raw, he got this, he got that.” I want people to see my talent for what it is. Not see my talent and just cut it short because I sound like someone they heard. It’s deeper. There’s a lot goin’ on. \u003c/p>\n\u003cp>\u003cstrong>After this tour, this next project, this documentary — where do you want to be in a year?\u003c/strong>\u003c/p>\n\u003cp>I wanna move out of California. Move to Atlanta. Bay Area ain’t ever gonna lose me, cause I’m always gonna have a spot out here. This is my second home, man. But Atlanta, I just gotta have a spot out there. The culture’s just the culture.\u003c/p>\n\u003cp>Look, I come from Mobile. But Mobile’s like crabs in a bucket. I don’t know no rapper who can blow on in and go back to his city and stay there. Like, my life movin’ way faster than Mobile right now. I love Mobile to death, and I love the people in it. But if I was to move back to Mobile, my career would die down right now. So I wanna move to Atlanta, ’cause that’s where everything is – the music is through the roof, studios, the vibe is just lovely, everything is cool. Just like the Bay.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>OMB Peezy performs with SOB x RBE at the UC Theatre in Berkeley on Tuesday, Aug. 1. \u003ca href=\"http://www.theuctheatre.org/event/1505162-sob-x-rbe-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "From a rough life in Mobile, Alabama to a major record deal at age 20, \"Lay Down\" rapper OMB Peezy talks growing up, spending time in jail, taking care of his son and more.",
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"description": "From a rough life in Mobile, Alabama to a major record deal at age 20, "Lay Down" rapper OMB Peezy talks growing up, spending time in jail, taking care of his son and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>OMB Peezy is tired. It’s the fourteenth night of tour, he’s been sleeping in the backseat of a Mercedes Sprinter van all afternoon, and the conspicuous Ziploc bag brought to him by the tour’s merch girl is getting low on contents.\u003c/p>\n\u003cp>Meanwhile, the past eight months have been a whirlwind for the Mobile, Ala.-born rapper. Two days earlier, Wiz Khalifa posted his track “\u003ca href=\"https://www.youtube.com/watch?v=DGHkrFEJ9yc\" target=\"_blank\" rel=\"noopener\">Lay Down\u003c/a>,” adding to the heap of co-signs for Peezy’s addictive, nasal delivery that ebbs and flows more like an Eric Dolphy saxophone solo than a 20-year-old rapper from Sacramento. The week prior, he played a New York showcase that attracted industry veterans, and he’s signed two record deals in six months — one with E-40’s Sic Wit It Records and one with 300 Entertainment, home to heavy hitters like Young Thug, Fetty Wap and Migos.\u003c/p>\n\u003cp>It’s the type of sudden rise that regional rappers dream of, with two anticipated mixtapes on the way: \u003cem>Loyalty Over Love\u003c/em>, a 12-song autobiographical song cycle, and an as-yet-untitled project with producer \u003ca href=\"https://twitter.com/CardoGotWings\" target=\"_blank\" rel=\"noopener\">Cardo\u003c/a> (who’s worked with Kendrick Lamar, Schoolboy Q, Travis Scott and others). While a line of fans snaked down the block two hours before a sold-out show with Vallejo’s \u003ca href=\"https://www.eastbayexpress.com/oakland/sob-x-rbe-is-doing-numbers/Content?oid=8169789\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a> at the Phoenix Theater in Petaluma, Peezy talked to me about growing up in the South, being in jail when his son was born, and what he wants for the future. \u003c/p>\n\u003cfigure id=\"attachment_13785533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-800x533.jpg\" alt=\"OMB Peezy: 'I don’t wanna be havin’ to make myself comfortable in places that I’m not comfortable in.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13785533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Necklace-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OMB Peezy: ‘I don’t wanna be havin’ to make myself comfortable in places that I’m not comfortable in.’ \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How wild has your life been in the last year?\u003c/strong>\u003c/p>\n\u003cp>It’s been crazy. I seen so much in the last 8 months. It was “Lay Down” that made it go through the roof. This shit’s stressful, man — going through all these airlines, all these people, all these shows — but I feel like I’m made for it, so I ain’t trippin’.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>You’re from Mobile, Alabama. What was it like growing up there? \u003c/strong>\u003c/p>\n\u003cp>I grew up moving from house to house, the \u003ca href=\"https://www.facebook.com/pages/Orange-Grove-Housing-Projects/369934566386969\" target=\"_blank\" rel=\"noopener\">Orange Grove Projects\u003c/a>, and I left at a young age, like 12, so I ain’t really get to explore the whole of Mobile. I only got to explore the dirty portions, I ain’t get to see no pretty sights and shit, so I can’t really tell you too much. I ain’t really have no childhood. Everybody else getting Christmas presents, everybody else going on field trips. So everything I tell you would be some bad shit, all the way ’til I get out to California. \u003c/p>\n\u003cp>\u003cstrong>What was the biggest culture shock when you moved to the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The people, the accents. The way people talk! I thought people only talked like that on TV.\u003c/p>\n\u003cfigure id=\"attachment_13785535\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Peezy.Standing-800x1200.jpg\" alt=\"OMB Peezy, outside the Phoenix Theater in Petaluma.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13785535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Standing.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OMB Peezy, outside the Phoenix Theater in Petaluma. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were you aware of any Bay Area rap in Alabama?\u003c/strong>\u003c/p>\n\u003cp>Nah. I ain’t know a lot. I knew about E-40, ’cause he was in movies. The music, it was different, but me bein’ Southern, and bein’ that I grew up on so many different types of music, I had an open ear to it, so I grew a likin’ to it. \u003c/p>\n\u003cp>\u003cstrong>You’ve got a kid, don’t you?\u003c/strong>\u003c/p>\n\u003cp>Yeah, I got a son. He gonna be two years old on Aug. 18. Leo, he a little badass. He’s a big motivator for me. I feel like anyone who have a kid, that’s gonna push ’em harder. \u003c/p>\n\u003cp>\u003cstrong>You’re finally coming up on some money and opportunity. What do you want out of life?\u003c/strong>\u003c/p>\n\u003cp>I don’t only wanna be able to take care of my kid — I don’t want him to see me strugglin’. Know what I mean? I want to be comfortable with life, I want to be content with life. I want my son to be comfortable. I don’t wanna be tryin’ to make myself comfortable no more. I don’t wanna be havin’ to \u003cem>make\u003c/em> myself comfortable in places that I’m not comfortable in.\u003c/p>\n\u003cp>\u003cstrong>You’ve said before that you were locked up when your son was born. \u003c/strong>\u003c/p>\n\u003cp>Yeah, I was locked up. That shit wasn’t cool. My son was already a month and a couple days old when I got out. I was happy and mad as hell at the same time. I didn’t even know how to take it, ’cause it was my fault that I was in there — I got caught with a gun. I was in there seven months. \u003c/p>\n\u003cp>\u003cstrong>Your song “\u003ca href=\"https://www.youtube.com/watch?v=oEgtvdCx-24\" target=\"_blank\" rel=\"noopener\">Porch\u003c/a>” is a message to younger people. Why did you make that song?\u003c/strong>\u003c/p>\n\u003cp>I made it ’cause a lot of people listen to music, like when I made “Lay Down,” people listen to it and they wanna do exactly what the song say. I was like, man, that’s good, but be ready for what you’re gettin’ yourself into. I ain’t sayin’ don’t do it, but be mindful of what you’re doin’.\u003c/p>\n\u003cfigure id=\"attachment_13785534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Peezy.Van_-800x533.jpg\" alt=\"OMB Peezy.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13785534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Peezy.Van_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">OMB Peezy. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You talk a lot about the people who supported you early on, like with “\u003ca href=\"https://www.youtube.com/watch?v=CKAH7eSB82s\" target=\"_blank\" rel=\"noopener\">When I Was Down\u003c/a>.” What happens when your reality becomes a lot of fame, a lot of money?\u003c/strong>\u003c/p>\n\u003cp>Then I’ll talk about my path to that reality. I don’t forget \u003cem>nothing\u003c/em>. I got a memory like an elephant. And certain shit that happened to me had a big-ass impact on me. You’re gonna hear it in \u003cem>Loyalty Over Love\u003c/em> – that’s what I’m doing, basically, is telling my story. \u003c/p>\n\u003cp>\u003cstrong>People talk about \u003ca href=\"https://en.wikipedia.org/wiki/Boosie_Badazz\" target=\"_blank\" rel=\"noopener\">Boosie\u003c/a> a lot when it comes to your voice. I think there’s a more going on than people give you credit for. \u003c/strong>\u003c/p>\n\u003cp>I think I’m similar to Boosie too, but that ain’t all. I feel like people shouldn’t think when they hear me, “Oh, he sound like Boosie” and just leave it that. “He sound like Boosie, oh, he lyrical, he raw, he got this, he got that.” I want people to see my talent for what it is. Not see my talent and just cut it short because I sound like someone they heard. It’s deeper. There’s a lot goin’ on. \u003c/p>\n\u003cp>\u003cstrong>After this tour, this next project, this documentary — where do you want to be in a year?\u003c/strong>\u003c/p>\n\u003cp>I wanna move out of California. Move to Atlanta. Bay Area ain’t ever gonna lose me, cause I’m always gonna have a spot out here. This is my second home, man. But Atlanta, I just gotta have a spot out there. The culture’s just the culture.\u003c/p>\n\u003cp>Look, I come from Mobile. But Mobile’s like crabs in a bucket. I don’t know no rapper who can blow on in and go back to his city and stay there. Like, my life movin’ way faster than Mobile right now. I love Mobile to death, and I love the people in it. But if I was to move back to Mobile, my career would die down right now. So I wanna move to Atlanta, ’cause that’s where everything is – the music is through the roof, studios, the vibe is just lovely, everything is cool. Just like the Bay.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>OMB Peezy performs with SOB x RBE at the UC Theatre in Berkeley on Tuesday, Aug. 1. \u003ca href=\"http://www.theuctheatre.org/event/1505162-sob-x-rbe-berkeley/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: E-40, 'The D-Boy Diaries Books 1 & 2'",
"headTitle": "The 10 Best Bay Area Albums of 2016: E-40, ‘The D-Boy Diaries Books 1 & 2’ | KQED",
"content": "\u003cp>E-40 is one of the most exuberantly acrobatic rappers around, a stylist besotted with how non-lexicon coinage and contorted enunciation inflect words with new feeling and meaning. That spirit characterized his earliest work, as a member of Vallejo outfit The Click, and it defined an independent solo career that remains an aspirational beacon for Bay Area artists who want a regional empire with a national reputation. And the same sort of boundless invention helps explain why, after 25 solo releases, the appearance of 42-track double-album \u003cem>The D-Boy Diaries Books 1 & 2\u003c/em> is still an event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KxOoK36G2-Q\u003c/p>\n\u003cp>D-Boy Diaries opener “Stack it to the Ceiling” puts E-40’s carnivalesque wordplay at the fore with its circuitous riffs on weed-spilling party fouls, adobo, and a sucker “so full of sh*t you like a dog park mark-ass poodle.” (The last bit unfurls like one word.) Though there’s no local tribute-track here quite as charming as “707,” from 2014’s \u003cem>Sharp on All 4 Corners\u003c/em>, features from upstart rappers (and signees to 40’s Sick Wid It label) abound: Vallejo’s Nef the Pharaoh gamely guests alongside Mistah F.A.B. on “Bring Back the Sideshow.” And Funktown’s Ezale — whose 2016 DJ Fresh collaboration \u003cem>The Tonite Show\u003c/em> deserves note of its own — reveals a relatively understated, breathy flow on hyphy throwback “Straight to the Point.” (You just have to endure a typically wooden G-Eazy verse first.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12487305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png\" alt=\"e-40-the-d-boy-diary-books-1-2-iamhiphoptv\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1020x510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1180x590.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-520x260.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Radio hopeful “Savage” features one of those strangulated hooks popularized by Fetty Wap, but it lacks the singular charisma of E-40’s recent hits such as “Choices (Yup).” That’s hardly to the overall detriment of D-Boy Diaries, a generously stuffed album from an artist who could coast on clout if he wanted. And it bears mention that 40’s delivery in recent years feels even more embodied than it once did; he draws vigor and breath from chambers most humans aren’t blessed with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>Previously:\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito, ‘The Last Days of Oakland’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & the Get Down Stay Down: ‘A Man Alive’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>E-40 is one of the most exuberantly acrobatic rappers around, a stylist besotted with how non-lexicon coinage and contorted enunciation inflect words with new feeling and meaning. That spirit characterized his earliest work, as a member of Vallejo outfit The Click, and it defined an independent solo career that remains an aspirational beacon for Bay Area artists who want a regional empire with a national reputation. And the same sort of boundless invention helps explain why, after 25 solo releases, the appearance of 42-track double-album \u003cem>The D-Boy Diaries Books 1 & 2\u003c/em> is still an event.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KxOoK36G2-Q'\n title='//www.youtube.com/embed/KxOoK36G2-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>D-Boy Diaries opener “Stack it to the Ceiling” puts E-40’s carnivalesque wordplay at the fore with its circuitous riffs on weed-spilling party fouls, adobo, and a sucker “so full of sh*t you like a dog park mark-ass poodle.” (The last bit unfurls like one word.) Though there’s no local tribute-track here quite as charming as “707,” from 2014’s \u003cem>Sharp on All 4 Corners\u003c/em>, features from upstart rappers (and signees to 40’s Sick Wid It label) abound: Vallejo’s Nef the Pharaoh gamely guests alongside Mistah F.A.B. on “Bring Back the Sideshow.” And Funktown’s Ezale — whose 2016 DJ Fresh collaboration \u003cem>The Tonite Show\u003c/em> deserves note of its own — reveals a relatively understated, breathy flow on hyphy throwback “Straight to the Point.” (You just have to endure a typically wooden G-Eazy verse first.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12487305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png\" alt=\"e-40-the-d-boy-diary-books-1-2-iamhiphoptv\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1020x510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1180x590.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-520x260.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Radio hopeful “Savage” features one of those strangulated hooks popularized by Fetty Wap, but it lacks the singular charisma of E-40’s recent hits such as “Choices (Yup).” That’s hardly to the overall detriment of D-Boy Diaries, a generously stuffed album from an artist who could coast on clout if he wanted. And it bears mention that 40’s delivery in recent years feels even more embodied than it once did; he draws vigor and breath from chambers most humans aren’t blessed with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"soldout": {
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