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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5483078115\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>One of the most popular music festivals in Oakland, Hiero Day, will look a little different this year. Instead of the one-day blowout we all know and love, it’ll be a series \u003ca href=\"https://twitter.com/RapNoir/status/1432357915608829953?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">smaller events throughout the weekend\u003c/a>. But the elements that matter will still be present: Space and culture.\u003c/p>\n\u003cp>“We made a place where all of our influences: all the people we’ve influenced, all the homies and people who have influenced us… everybody can come together and celebrate,” says Tajai Massey (aka \u003ca href=\"https://www.instagram.com/rapnoir/\" target=\"_blank\" rel=\"noopener noreferrer\">Rap Noir)\u003c/a> of the Hieroglyphic Crew.\u003c/p>\n\u003cp>Tajai sees Hiero Day as a physical manifestation of the Souls of Mischief’s most famous song, “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">93 Til Infiinty\u003c/a>,” where he and the other emcees give listeners a taste of life in Oakland and how we chill.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fXJc2NYwHjw\u003c/p>\n\u003cp>These days, it’s hard to ignore Oakland’s growing wealth disparities, the massive unsheltered population, and continued gentrification.\u003c/p>\n\u003cp>“A lot of folks I see during Hiero Day, they’ve had to move away, to Stockton, Sac, L.A… anywhere that’s cheaper than here. But we see them on Hiero Day, so it’s like a big family reunion,” says Tajai.\u003c/p>\n\u003cp>Another unfortunate change in the Bay Area: fewer affordable art spaces.\u003c/p>\n\u003cp>“Space is extremely important for [all the arts] to be able to flourish and grow… It becomes very important for you to have a place, not just the time, but a place to actually be creative.”\u003c/p>\n\u003cp>As a young emcee, Tajai remembers recording studios all over the East Bay, including The Onion Lab in Berkeley where an hour of time would cost just five dollars. “That is a direct progenitor of us being able to be in the industry, to have a demo for the world to hear.”\u003c/p>\n\u003cp>Space and culture mean a lot to Tajai, not just as a rapper, but as an architectural designer.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n“I know how to build spaces. I know how to generate money. I know how to help people through my music, et cetera. How can I make those three things converge in a way that makes life easier for the people that I see suffering around me? And that’s kind of the crossroads that I’m at now.”\u003c/span>\u003c/p>\n\u003cp>This week on Rightnowish, we talk to Tajai about the intersection of culture and the built environment, and the importance of having access to space in order to share, celebrate and create culture.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "Daps and Hugs: I'm Moving Out of 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\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\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>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\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\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\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\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "How do you say goodbye to one of the greatest pieces of turf on this earth?",
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"title": "Daps and Hugs: I'm Moving Out of Oakland | KQED",
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"headline": "Daps and Hugs: I'm Moving Out of Oakland",
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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\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\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>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \u003ccite>(Pendarvis Harshaw)\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\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in Oakland. \u003ccite>(Pendarvis Harshaw)\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\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hieroglyphics’ Hip-Hop Holy Day Celebrated the Bay Area’s Independent Spirit",
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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\">A\u003c/span>lthough Oakland hip-hop collective \u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hieroglyphics\u003c/a> headlines \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a> every year, Souls of Mischief member Adam “A-Plus” Carter points out that “Hiero Day isn’t Hiero-centric.” In other words, the festival isn’t so much a celebration of all things Hiero as it is an affirmation of hip-hop’s—and the Bay Area’s—independent spirit.\u003c/p>\n\u003cp>Indeed, Hieroglyphics’ brief 30-minute closing set was almost an afterthought on Sept. 2, as the festival’s eighth edition featured non-stop highlights. These included a jazzy, soulful and grown-up set by the Midnight Hour (a project by Ali Shaheed Muhammad and Adrian Younge); a surprise cameo by Queens hip-hop veteran the Large Professor; the debut live performance of an East-meets-West collaboration between Mount Vernon’s Pete Rock and Oakland’s Yukmouth; a fierce performance by “Gangster Goddess” Medusa; and an early set by bilingual MC Deuce Eclipse and DJ El Kool Kyle on the Infinity Stage. [aside postid='arts_13864913']\u003c/p>\n\u003cp>Even a technical glitch, which forced the early closure of one of the stages and some rerouting of artists, couldn’t kill the vibe, which remained resolutely upbeat.\u003c/p>\n\u003cp>Over the years, Hiero Day has morphed from a free block party featuring a few Bay Area and West Coast comrades to an all-star hip-hop extravaganza with musical talent from across the country, attracting fans from as far away as Australia and Japan. As the event has grown in size—it passed the 25,000 attendance mark a few years back—it’s also grown in stature while remaining uniquely organic and homegrown.\u003c/p>\n\u003cp>This year saw the event expand throughout Labor Day weekend, with a Family Day event at DeFremery Park and a collaboration with the 45 Sessions, featuring legendary DJs (including Breakbeat Lou and Diamond D) spinning all-7” sets. The festival itself boasted three stages of live music and DJs, food trucks, vendors and positive vibes everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13865653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg\" alt=\"Rapper Queens D.Light performs at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Queens D.Light performs at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a fan perspective, Hiero Day is something akin to a Bay Area holy day—a chance to participate in a contemporary cultural ritual with tens of thousands of like-minded people spanning a multitude of ages and ethnic backgrounds. For the artists themselves, Hiero Day is an affirmation of authentic acceptance into elite hip-hop status.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yukmouth counts Hiero as not only an inspiration to him, but a positive influence on Oakland youth. “It’s definitely a rite of passage, for Oakland and Bay Area rap, just for hip hop period,” he says. “And it’s a Bay Area movement that’s so strong, you ain’t never seen so much peace in the streets. With 30–35,000 people strong. Blocks and blocks down Oakland. Peacefully. No fights, no disputes. Everybody having fun and partying.”\u003c/p>\n\u003cp>For A-Plus, Hiero Day is a “surreal” experience. Not just in the sense that it’s named after his crew, or that it’s become symbolic of the group’s ongoing contributions to a living history, but also because it’s a family affair. “Best part of Hiero Day to me is bringing my son every year,” he says. “The last few years, his little brother has been coming as well. As well as his mom’s side of the family.” Apart from the occasional Jamaican event, he says, Hiero Day is the only event that can bring out his entire extended family—including both his parents, who have been separated for years.\u003c/p>\n\u003cp>Damian “Domino” Siguenza, a producer who’s also served as Hiero’s label manager, tour manager and booking agent at various times, agrees. The festival, he says, is “our way of giving back to our community that supported us all these years, and, you know, give back to the community in the form of art.”\u003c/p>\n\u003cfigure id=\"attachment_13865657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg\" alt=\"Pioneering Bronx DJ Diamond D performs at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pioneering Bronx DJ Diamond D performs at Hiero Day x 45 Sessions at the Uptown. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it’s evolved, he adds, the gathering itself has become the main attraction, over and above any particular artist on the bill. “It’s almost like, I don’t think the groups who are playing are as much of a factor on whether someone’s gonna come,” says Domino. “People just kind of make it, this is what they do.”\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\">T\u003c/span>he number eight holds particular significance for Hieroglyphics, in that their iconic symbol—three dots above a straight line—represents that number in the Mayan numerology system. Even more significance can be gleaned from the fact that Hiero has been touring this year in commemoration of their groundbreaking \u003cem>Third Eye Vision\u003c/em> album, released in 1998.\u003c/p>\n\u003cp>As Domino recalls, “The initial goal for us was, OK, let’s put out this Hiero record, get a little buzz, and then we can get everyone signed again [to a major label].” [aside postid='arts_13864717']\u003c/p>\n\u003cp>But once the album was released, the group soon found that their DIY approach worked better for them than a major-label record deal. “We were making more money and we were touring more than we were when we were on Jive,” says Domino. “It kind of opened our eye to, hey, this is really the way to go.” This led to “the important thing, which is ownership. Control of not only your masters and publishing or whatever, but also control of the marketing. Control of how you disseminate information on your record and picking the singles.”\u003c/p>\n\u003cp>To rappers like Yukmouth, Hiero has become ubiquitous. “They’re worldwide. They were one of the first groups out of Oakland to be accepted by New York. That’s a hard market to even be accepted in,” he says. “They have a cult following and I’m glad I grew up with these dudes. And watched ‘em do it from the bottom to the top. It remains a totem pole in the hip-hop game and in the Bay Area rap culture.”\u003c/p>\n\u003cfigure id=\"attachment_13865658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg\" alt=\"Dante Ross and Tajai of Souls of Mischief at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dante Ross and Tajai of Souls of Mischief backstage at Hiero Day x 45 Sessions. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45 Sessions founder DJ Platurn, who’s spun at Hiero Day for five of its eight years, explains that Hieroglyphics’ sample-based, conscious hip-hop sound marked an important departure from what other established Bay Area artists, like E-40 and Too Short, were doing in the ’90s and 2000s. “What is really important about what Hiero means to us as DJs, and diggers, and hardcore music aficionados, is that they came along at a very important time that showed that there’s more to the scene than [what] the Bay is traditionally known for,” he says. [aside postid='arts_13865042']\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\">L\u003c/span>egendary A&R and Hiero Day DJ performer Dante Ross, who signed Hiero founder Del the Funky Homosapien to Elektra in the early ’90s, recalls Ice Cube sending him Del’s demos. “It was the first time I heard somebody from the West Coast who reminded me of the Native Tongues,” Ross recalls. “He had his own style, but you could see the synergy.” There were other lyrical West Coasts artists, he says, “but I hadn’t heard anything quite like Del before.”\u003c/p>\n\u003cp>Within the hip-hop ecosystem, Ross says, “Hiero are a unique voice. To this day, there hasn’t been anyone who did exactly what they did in the Bay Area. They had their own style, their own voice, even their own slang. Their Bay Area slang was not Town slang, necessarily. They had their own perspective on everything.”\u003c/p>\n\u003cfigure id=\"attachment_13865661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg\" alt=\"DJ Lady Ryan at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lady Ryan at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to typical West Coast gangster rappers popular at that time, “[Hiero] were way more intricate and a little more advanced. They had their own style of production, which was sample-based, and to me, that’s one of the reasons they’ve had so much longevity.”\u003c/p>\n\u003cp>To date, Hieroglyphics have collectively released three group albums, and innumerable solo albums and side projects, from 2000’s \u003cem>Deltron 3030 \u003c/em>to 2019’s \u003cem>Stoney Hawk\u003c/em>.\u003c/p>\n\u003cp>A-Plus isn’t sure when their next group album will be released, but notes that Hiero Day has made up in some ways for the gap between albums by keeping the crew in the spotlight. The celebration is also something that helps the collective—who were teenagers when they started and now each have their own families—stay connected to each other. Yet despite its apparent success, he says, Hiero Day remains a grassroots undertaking and hasn’t yet become a cash cow.\u003c/p>\n\u003cp>As A-Plus puts it, “It’s a labor of love.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \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\">A\u003c/span>lthough Oakland hip-hop collective \u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hieroglyphics\u003c/a> headlines \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a> every year, Souls of Mischief member Adam “A-Plus” Carter points out that “Hiero Day isn’t Hiero-centric.” In other words, the festival isn’t so much a celebration of all things Hiero as it is an affirmation of hip-hop’s—and the Bay Area’s—independent spirit.\u003c/p>\n\u003cp>Indeed, Hieroglyphics’ brief 30-minute closing set was almost an afterthought on Sept. 2, as the festival’s eighth edition featured non-stop highlights. These included a jazzy, soulful and grown-up set by the Midnight Hour (a project by Ali Shaheed Muhammad and Adrian Younge); a surprise cameo by Queens hip-hop veteran the Large Professor; the debut live performance of an East-meets-West collaboration between Mount Vernon’s Pete Rock and Oakland’s Yukmouth; a fierce performance by “Gangster Goddess” Medusa; and an early set by bilingual MC Deuce Eclipse and DJ El Kool Kyle on the Infinity Stage. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even a technical glitch, which forced the early closure of one of the stages and some rerouting of artists, couldn’t kill the vibe, which remained resolutely upbeat.\u003c/p>\n\u003cp>Over the years, Hiero Day has morphed from a free block party featuring a few Bay Area and West Coast comrades to an all-star hip-hop extravaganza with musical talent from across the country, attracting fans from as far away as Australia and Japan. As the event has grown in size—it passed the 25,000 attendance mark a few years back—it’s also grown in stature while remaining uniquely organic and homegrown.\u003c/p>\n\u003cp>This year saw the event expand throughout Labor Day weekend, with a Family Day event at DeFremery Park and a collaboration with the 45 Sessions, featuring legendary DJs (including Breakbeat Lou and Diamond D) spinning all-7” sets. The festival itself boasted three stages of live music and DJs, food trucks, vendors and positive vibes everywhere.\u003c/p>\n\u003cfigure id=\"attachment_13865653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg\" alt=\"Rapper Queens D.Light performs at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-260.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Queens D.Light performs at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From a fan perspective, Hiero Day is something akin to a Bay Area holy day—a chance to participate in a contemporary cultural ritual with tens of thousands of like-minded people spanning a multitude of ages and ethnic backgrounds. For the artists themselves, Hiero Day is an affirmation of authentic acceptance into elite hip-hop status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yukmouth counts Hiero as not only an inspiration to him, but a positive influence on Oakland youth. “It’s definitely a rite of passage, for Oakland and Bay Area rap, just for hip hop period,” he says. “And it’s a Bay Area movement that’s so strong, you ain’t never seen so much peace in the streets. With 30–35,000 people strong. Blocks and blocks down Oakland. Peacefully. No fights, no disputes. Everybody having fun and partying.”\u003c/p>\n\u003cp>For A-Plus, Hiero Day is a “surreal” experience. Not just in the sense that it’s named after his crew, or that it’s become symbolic of the group’s ongoing contributions to a living history, but also because it’s a family affair. “Best part of Hiero Day to me is bringing my son every year,” he says. “The last few years, his little brother has been coming as well. As well as his mom’s side of the family.” Apart from the occasional Jamaican event, he says, Hiero Day is the only event that can bring out his entire extended family—including both his parents, who have been separated for years.\u003c/p>\n\u003cp>Damian “Domino” Siguenza, a producer who’s also served as Hiero’s label manager, tour manager and booking agent at various times, agrees. The festival, he says, is “our way of giving back to our community that supported us all these years, and, you know, give back to the community in the form of art.”\u003c/p>\n\u003cfigure id=\"attachment_13865657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg\" alt=\"Pioneering Bronx DJ Diamond D performs at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Diamond-D-45-Sessions.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pioneering Bronx DJ Diamond D performs at Hiero Day x 45 Sessions at the Uptown. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As it’s evolved, he adds, the gathering itself has become the main attraction, over and above any particular artist on the bill. “It’s almost like, I don’t think the groups who are playing are as much of a factor on whether someone’s gonna come,” says Domino. “People just kind of make it, this is what they do.”\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\">T\u003c/span>he number eight holds particular significance for Hieroglyphics, in that their iconic symbol—three dots above a straight line—represents that number in the Mayan numerology system. Even more significance can be gleaned from the fact that Hiero has been touring this year in commemoration of their groundbreaking \u003cem>Third Eye Vision\u003c/em> album, released in 1998.\u003c/p>\n\u003cp>As Domino recalls, “The initial goal for us was, OK, let’s put out this Hiero record, get a little buzz, and then we can get everyone signed again [to a major label].” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But once the album was released, the group soon found that their DIY approach worked better for them than a major-label record deal. “We were making more money and we were touring more than we were when we were on Jive,” says Domino. “It kind of opened our eye to, hey, this is really the way to go.” This led to “the important thing, which is ownership. Control of not only your masters and publishing or whatever, but also control of the marketing. Control of how you disseminate information on your record and picking the singles.”\u003c/p>\n\u003cp>To rappers like Yukmouth, Hiero has become ubiquitous. “They’re worldwide. They were one of the first groups out of Oakland to be accepted by New York. That’s a hard market to even be accepted in,” he says. “They have a cult following and I’m glad I grew up with these dudes. And watched ‘em do it from the bottom to the top. It remains a totem pole in the hip-hop game and in the Bay Area rap culture.”\u003c/p>\n\u003cfigure id=\"attachment_13865658\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg\" alt=\"Dante Ross and Tajai of Souls of Mischief at Hiero Day 2019.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13865658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Dante-Ross-and-Tajai.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dante Ross and Tajai of Souls of Mischief backstage at Hiero Day x 45 Sessions. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45 Sessions founder DJ Platurn, who’s spun at Hiero Day for five of its eight years, explains that Hieroglyphics’ sample-based, conscious hip-hop sound marked an important departure from what other established Bay Area artists, like E-40 and Too Short, were doing in the ’90s and 2000s. “What is really important about what Hiero means to us as DJs, and diggers, and hardcore music aficionados, is that they came along at a very important time that showed that there’s more to the scene than [what] the Bay is traditionally known for,” he says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\">L\u003c/span>egendary A&R and Hiero Day DJ performer Dante Ross, who signed Hiero founder Del the Funky Homosapien to Elektra in the early ’90s, recalls Ice Cube sending him Del’s demos. “It was the first time I heard somebody from the West Coast who reminded me of the Native Tongues,” Ross recalls. “He had his own style, but you could see the synergy.” There were other lyrical West Coasts artists, he says, “but I hadn’t heard anything quite like Del before.”\u003c/p>\n\u003cp>Within the hip-hop ecosystem, Ross says, “Hiero are a unique voice. To this day, there hasn’t been anyone who did exactly what they did in the Bay Area. They had their own style, their own voice, even their own slang. Their Bay Area slang was not Town slang, necessarily. They had their own perspective on everything.”\u003c/p>\n\u003cfigure id=\"attachment_13865661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865661\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg\" alt=\"DJ Lady Ryan at Hiero Day 2019.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Hiero-Day-2019-174.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Lady Ryan at Hiero Day 2019. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compared to typical West Coast gangster rappers popular at that time, “[Hiero] were way more intricate and a little more advanced. They had their own style of production, which was sample-based, and to me, that’s one of the reasons they’ve had so much longevity.”\u003c/p>\n\u003cp>To date, Hieroglyphics have collectively released three group albums, and innumerable solo albums and side projects, from 2000’s \u003cem>Deltron 3030 \u003c/em>to 2019’s \u003cem>Stoney Hawk\u003c/em>.\u003c/p>\n\u003cp>A-Plus isn’t sure when their next group album will be released, but notes that Hiero Day has made up in some ways for the gap between albums by keeping the crew in the spotlight. The celebration is also something that helps the collective—who were teenagers when they started and now each have their own families—stay connected to each other. Yet despite its apparent success, he says, Hiero Day remains a grassroots undertaking and hasn’t yet become a cash cow.\u003c/p>\n\u003cp>As A-Plus puts it, “It’s a labor of love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for Labor Day weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Hiero Day\u003c/strong>: When East Bay hip-hop crew Hieroglyphics puts on a music festival, it’s more block party than Bonnaroo. The scene is casual, there’s usually people out breakdancing and skateboarding, and the lineup always pulls together underground rappers from all over the country. This year, it’s heavy on the ’90s: that means you’ll see Scarface from the Geto Boys, the producer Pete Rock, a reunion of the duo Little Brother, Black Moon, Smif-n-Wessun, Count Bass D, Diamond D, and a ton more. It all goes down on Labor Day, Sept. 2, along Third Street on the edge of the Jack London district in Oakland. \u003ca href=\"https://www.hieroday.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Against the Ropes’\u003c/strong>: Many of you know the Netflix show \u003cem>GLOW\u003c/em>. And San Francisco artist Kelly Inouye has a new show of large-scale watercolor paintings that’s inspired in part by her rediscovery of women’s professional wrestling. At the same time, Inouye was reading a lot of feminist writing about empowerment, intersectionality and female rage, and she channeled that need for catharsis into these giant works on paper depicting really powerful, athletic women playing with different personas (the biggest one is 60 x 74 inches). The show opens at Marrow Gallery in the Inner Sunset on Friday, Aug. 30, and runs through September 28. \u003ca href=\"https://www.marrowgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Tierra de Rosas’\u003c/strong>: This a show of painting and sculpture by Maria de los Angeles, who was born in Mexico, came to Santa Rosa’s Roseland district as a young girl, and for the past 10 years has lived on the East Coast. This exhibit in Santa Rosa serves as a homecoming of sorts, in a city that remembers her well—at the opening last weekend, it was packed. She’s paired her own work with that of 10 other artists who’ve inspired her, much of it unpacking immigration, and much of it joyful. It’s up now, and runs through Nov. 3 at the Museum of Sonoma County in Santa Rosa. \u003ca href=\"https://museumsc.org/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Jodorowsky’s Dune’\u003c/strong>: You may be familiar with David Lynch’s 1984 adaptation of the epic Frank Herbert sci-fi, starring Kyle MacLaughlan and Sting. You may \u003cem>also\u003c/em> know that director Denis Villeneuve is working on his own \u003cem>Dune\u003c/em> for 2020. But before both of these, there was another \u003cem>Dune\u003c/em> that never got made, a visionary film by Chilean director Alejandro Jodorowsky. When he started working on it in 1974, it was going to star Orson Welles, Mick Jagger, David Carradine and even the artist Salvador Dalí, and he commissioned designs from artists like H.R. Giger and Jean Giraud. In this documentary, Jodorowsky gets to describe the film that could have been, as well as its influences on so many movies that followed. It screens Friday, Aug. 30, at the New Parkway in Oakland. \u003ca href=\"https://www.thenewparkway.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sonido Clash\u003c/strong>: Nina Sky headline this year’s Sonido Clash music festival in San Jose, a day-long celebration with two dozen buzzed-about indie and alternative Latino artists—the type of acts you’re likely to see on NPR’s Tiny Desk in a year or two. Katzu Oso, Ms. Nina, Reyna Tropical and a ton more play in the cozy courtyard setting, at the School of Arts and Culture at the Mexican Heritage Plaza, in San Jose. It’s on Sunday, Sept. 1. \u003ca href=\"http://sonidoclash.com/sonido-clash-music-fest/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> left an indelible mark on the Bay Area’s conscious hip-hop scene with songs like “\u003ca href=\"https://youtu.be/k729U5AMIKI\" target=\"_blank\" rel=\"noopener\">You Never Knew\u003c/a>” and Souls of Mischief’s “\u003ca href=\"https://youtu.be/fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener\">93 Til Infinity\u003c/a>.” Not to mention, the nine-person collective helped write the blueprint for independent artists in today’s industry with their own record label, events and clothing line.\u003c/p>\n\u003cp>Now an Oakland institution, their annual festival, Hiero Day, celebrates its 8th anniversary Aug. 30–Sept. 2 with an entire Labor Day weekend of festivities.\u003c/p>\n\u003cp>Taking place on Sept. 2, Hiero Day is known for its savvy mix of old-school hip-hop acts and up-and-coming artists. In addition to the Hieroglyphics crew, this year’s edition stars Houston legend \u003ca href=\"https://www.youtube.com/watch?v=KutXyPEEbQs\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, Hayward’s \u003ca href=\"https://youtu.be/S8K31tTV554\" target=\"_blank\" rel=\"noopener\">Spice 1\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BONgL61snlM\" target=\"_blank\" rel=\"noopener\">Pete Rock\u003c/a> & \u003ca href=\"https://www.youtube.com/watch?v=HSC9cgvtkRs\" target=\"_blank\" rel=\"noopener\">Yukmouth\u003c/a> (of Luniz). New Roc Nation signees \u003ca href=\"https://www.youtube.com/watch?v=6AQHQ8FlCoY\" target=\"_blank\" rel=\"noopener\">Benny the Butcher & Conway the Machine\u003c/a> also perform, as well as the honey-voiced R&B singer \u003ca href=\"https://soundcloud.com/mereba\" target=\"_blank\" rel=\"noopener\">Mereba\u003c/a>, Oakland rap power couple \u003ca href=\"https://enotsyaj.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> & \u003ca href=\"https://queensdlight.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Queens D.Light\u003c/a>, Stockton’s unhinged freestyler \u003ca href=\"https://youtu.be/tmjOCkifY9E\" target=\"_blank\" rel=\"noopener\">Haiti Babii\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=1PYNStp9jY0\" target=\"_blank\" rel=\"noopener\">Midnight Hour\u003c/a> (a new collaboration between composer Adrian Younge and A Tribe Called Quest’s Ali Shaheed Muhammad) and more. Oakland rap star Mistah F.A.B., R&B singer Rayana Jay, poet and playwright Chinaka Hodge and radio personality Sway Calloway are among the hosts of the festival’s three stages.\u003c/p>\n\u003cp>On Aug. 30, the Hieroglyphics crew is also throwing a silent disco dance party at Complex in Oakland. On Aug. 31, they host a free family day at DeFremery Park in West Oakland, with a skate contest, three-on-three basketball tournament, STEM-focused learning activities and more. The party continues with DJ sets from the 45 Sessions on Sept. 1 at the Uptown Nightclub and a comedy show that night at Level 13.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/B09o4UIgB2m/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Nastia Voynovskaya\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> left an indelible mark on the Bay Area’s conscious hip-hop scene with songs like “\u003ca href=\"https://youtu.be/k729U5AMIKI\" target=\"_blank\" rel=\"noopener\">You Never Knew\u003c/a>” and Souls of Mischief’s “\u003ca href=\"https://youtu.be/fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener\">93 Til Infinity\u003c/a>.” Not to mention, the nine-person collective helped write the blueprint for independent artists in today’s industry with their own record label, events and clothing line.\u003c/p>\n\u003cp>Now an Oakland institution, their annual festival, Hiero Day, celebrates its 8th anniversary Aug. 30–Sept. 2 with an entire Labor Day weekend of festivities.\u003c/p>\n\u003cp>Taking place on Sept. 2, Hiero Day is known for its savvy mix of old-school hip-hop acts and up-and-coming artists. In addition to the Hieroglyphics crew, this year’s edition stars Houston legend \u003ca href=\"https://www.youtube.com/watch?v=KutXyPEEbQs\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, Hayward’s \u003ca href=\"https://youtu.be/S8K31tTV554\" target=\"_blank\" rel=\"noopener\">Spice 1\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=BONgL61snlM\" target=\"_blank\" rel=\"noopener\">Pete Rock\u003c/a> & \u003ca href=\"https://www.youtube.com/watch?v=HSC9cgvtkRs\" target=\"_blank\" rel=\"noopener\">Yukmouth\u003c/a> (of Luniz). New Roc Nation signees \u003ca href=\"https://www.youtube.com/watch?v=6AQHQ8FlCoY\" target=\"_blank\" rel=\"noopener\">Benny the Butcher & Conway the Machine\u003c/a> also perform, as well as the honey-voiced R&B singer \u003ca href=\"https://soundcloud.com/mereba\" target=\"_blank\" rel=\"noopener\">Mereba\u003c/a>, Oakland rap power couple \u003ca href=\"https://enotsyaj.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a> & \u003ca href=\"https://queensdlight.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Queens D.Light\u003c/a>, Stockton’s unhinged freestyler \u003ca href=\"https://youtu.be/tmjOCkifY9E\" target=\"_blank\" rel=\"noopener\">Haiti Babii\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=1PYNStp9jY0\" target=\"_blank\" rel=\"noopener\">Midnight Hour\u003c/a> (a new collaboration between composer Adrian Younge and A Tribe Called Quest’s Ali Shaheed Muhammad) and more. Oakland rap star Mistah F.A.B., R&B singer Rayana Jay, poet and playwright Chinaka Hodge and radio personality Sway Calloway are among the hosts of the festival’s three stages.\u003c/p>\n\u003cp>On Aug. 30, the Hieroglyphics crew is also throwing a silent disco dance party at Complex in Oakland. On Aug. 31, they host a free family day at DeFremery Park in West Oakland, with a skate contest, three-on-three basketball tournament, STEM-focused learning activities and more. The party continues with DJ sets from the 45 Sessions on Sept. 1 at the Uptown Nightclub and a comedy show that night at Level 13.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "hot-summer-guide-2019-get-outside-in-the-east-bay-this-summer",
"title": "Hot Summer Guide 2019: Get Outside in the East Bay this Summer",
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"content": "\u003cp>East Bay residents seize the summertime to bring culture into the streets and parks, showcasing music, dance and film outdoors in city centers and outlying neighborhoods alike. The events below offer opportunities for entertainment and education rooted in the cultural and even ecological history of the region. Many of these picks are free and family-friendly, and all but one take place outdoors. \u003c/p>\n\u003cfigure id=\"attachment_13856930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg\" alt=\"The Pointer Sisters headline the 2018 edition of Art + Soul.\" width=\"800\" height=\"468\" class=\"size-medium wp-image-13856930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pointer Sisters headline the 2018 edition of Art + Soul. \u003ccite>(Courtesy Pointer Sisters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art + Soul\u003c/h2>\n\u003cp>\u003cem>July 27—28\u003cbr>\nDowntown Oakland\u003cbr>\n\u003ca href=\"https://www.artandsouloakland.com/\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by artists yet to be announced. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults. \u003c/p>\n\u003cfigure id=\"attachment_11722121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg\" alt=\"John Benson performs with his milk-covered drum at Garden of Memory in 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Benson performs with his milk-covered drum at Garden of Memory in 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Garden of Memory\u003c/h2>\n\u003cp>\u003cem>June 21\u003cbr>\nChapel of the Chimes, Oakland\u003cbr>\n\u003ca href=\"http://www.gardenofmemory.com/\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp>This one’s indoors, but there’s plenty of greenery and natural light. On the longest day of the year, the regal, naturally-lit Chapel of the Chimes columbarium erupts with sound as dozens of musicians perform simultaneously for a roaming audience at Garden of Memory. The annual event, which started in 1996, features small chamber groups, solo experimentalists and other ensembles expertly drawn from the local music scene, and culminates with a participatory bell-ringing ceremony to mark the solstice at sunset. \u003c/p>\n\u003cfigure id=\"attachment_13843026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-800x450.jpg\" alt=\"Mistah F.A.B. and Kenzie Smith at Hiero Day 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. and Kenzie Smith at Hiero Day 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hiero Day\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nJack London District, Oakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The lineup and exact location of this year’s Hiero Day is still to be determined, but the annual Labor Day music festival has become one of the foremost hip-hop events in Oakland. Local rap group Hieroglyphics founded the festival (tickets cost $19.93, a nod to Souls of Mischief’s “‘93 Til Infinity”), and it reliably boasts an impressive lineup of golden-age headliners and emerging locals. Last year featured artists including The Roots’ Black Thought, Mannie Fresh, Guapdad4000, DJ Fresh and Traxamillion, and the festival spread across several blocks in the Jack London District of Oakland. Tickets generally sell out long before the lineup is confirmed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burger Boogaloo\u003c/h2>\n\u003cp>\u003cem>July 6—7\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>During the first weekend of July, the Burger Boogaloo turns a disused concrete amphitheater in the corner of Mosswood Park into a riot of color of sound. The music festival, a partnership between Total Trash Productions and Southern California label Burger Records, celebrates the campiness of punk and garage rock, and it’s fittingly hosted by the filmmaker John Waters—a sort of spiritual advisor and patron saint to the scene. Its tenth annual edition will draw thousands to Oakland’s Temescal district for first-wave punk acts such as the Dead Boys, newer groups Sheer Mag and Shannon & the Clams and headliner the Jesus & Mary Chain. \u003c/p>\n\u003cfigure id=\"attachment_13832897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg\" alt=\"DJ Twelvz spins at Lake Merrit for "BBQ'n While Black," a celebration of African-American culture sparked by a white woman's widely lampooned police complaint.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13832897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Twelvz spins at Lake Merrit for “BBQ’n While Black,” a celebration of African-American culture sparked by a white woman’s widely lampooned police complaint.\u003c/figcaption>\u003c/figure>\n\u003ch2>BBQin’ While Black at Lake Merritt\u003c/h2>\n\u003cp>\u003cem>July 21\u003cbr>\nLake Merritt, Oakland\u003cbr>\n\u003ca href=\"https://www.gofundme.com/f/BBQnWhileBlack\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>One afternoon last April, a white woman harassed two black men for grilling at Lake Merritt, and proceeded to call the Oakland Police Department. Cell-phone footage of the incident immortalized the woman online as “#BBQBecky,” and prompted a discussion about race and access to public space amid gentrification in Oakland. It also prompted black Oaklanders to double down on the perceived offense by continuing to grill, week in and week out, at Lake Merritt. This year there’s a fundraiser to support more of the same, on an even grander scale.\u003c/p>\n\u003cfigure id=\"attachment_13856933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg\" alt=\"Port of Oakland, from the Oakland estuary.\" width=\"800\" height=\"518\" class=\"size-medium wp-image-13856933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1200x778.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Port of Oakland, from the Oakland estuary. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waterfront Tours\u003c/h2>\n\u003cp>\u003cem>May 17—August 10\u003c/em> \u003c/p>\n\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the \u003ca href=\"https://eastbayyesterday.com/journey-through-centuries-of-waterfront-history/\">East Bay Yesterday\u003c/a> podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11283312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Outdoor Rock ‘n’ Roll Film Screenings at Berkeley Art Museum\u003c/h2>\n\u003cp>\u003cem>June 13—August 8\u003cbr>\nBerkeley Art Museum and Pacific Film Archives, Berkeley\u003cbr>\nMore information \u003c/em>\u003c/p>\n\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments. \u003c/p>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Juneteenth in Berkeley and Richmond\u003c/h2>\n\u003cp>\u003cem>June 15—16\u003cbr>\nAlcatraz-Adeline corridor in \u003ca href=\"http://www.berkeleyjuneteenth.org/\">Berkeley\u003c/a> and Nicholl Park in \u003ca href=\"https://www.ci.richmond.ca.us/427/Festivals\">Richmond\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On June 19, 1865, a regiment of Union soldiers arrived in Galveston, Texas with news that the Civil War was over, and slavery was officially abolished in the United States. Today the event is marked in cities nationwide by Juneteenth, a celebration of black culture and heritage. Berkeley’s festival, which launched in 1987, brings first-rate performers and food, along with historical exhibits and health screenings, to the Alcatraz-Adeline corridor for free. One day earlier in Richmond, meanwhile, a parade orbits the family-friendly festival in Nicholl Park. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>East Bay residents seize the summertime to bring culture into the streets and parks, showcasing music, dance and film outdoors in city centers and outlying neighborhoods alike. The events below offer opportunities for entertainment and education rooted in the cultural and even ecological history of the region. Many of these picks are free and family-friendly, and all but one take place outdoors. \u003c/p>\n\u003cfigure id=\"attachment_13856930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg\" alt=\"The Pointer Sisters headline the 2018 edition of Art + Soul.\" width=\"800\" height=\"468\" class=\"size-medium wp-image-13856930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pointer Sisters headline the 2018 edition of Art + Soul. \u003ccite>(Courtesy Pointer Sisters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art + Soul\u003c/h2>\n\u003cp>\u003cem>July 27—28\u003cbr>\nDowntown Oakland\u003cbr>\n\u003ca href=\"https://www.artandsouloakland.com/\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by artists yet to be announced. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults. \u003c/p>\n\u003cfigure id=\"attachment_11722121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg\" alt=\"John Benson performs with his milk-covered drum at Garden of Memory in 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Benson performs with his milk-covered drum at Garden of Memory in 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Garden of Memory\u003c/h2>\n\u003cp>\u003cem>June 21\u003cbr>\nChapel of the Chimes, Oakland\u003cbr>\n\u003ca href=\"http://www.gardenofmemory.com/\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp>This one’s indoors, but there’s plenty of greenery and natural light. On the longest day of the year, the regal, naturally-lit Chapel of the Chimes columbarium erupts with sound as dozens of musicians perform simultaneously for a roaming audience at Garden of Memory. The annual event, which started in 1996, features small chamber groups, solo experimentalists and other ensembles expertly drawn from the local music scene, and culminates with a participatory bell-ringing ceremony to mark the solstice at sunset. \u003c/p>\n\u003cfigure id=\"attachment_13843026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-800x450.jpg\" alt=\"Mistah F.A.B. and Kenzie Smith at Hiero Day 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. and Kenzie Smith at Hiero Day 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hiero Day\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nJack London District, Oakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The lineup and exact location of this year’s Hiero Day is still to be determined, but the annual Labor Day music festival has become one of the foremost hip-hop events in Oakland. Local rap group Hieroglyphics founded the festival (tickets cost $19.93, a nod to Souls of Mischief’s “‘93 Til Infinity”), and it reliably boasts an impressive lineup of golden-age headliners and emerging locals. Last year featured artists including The Roots’ Black Thought, Mannie Fresh, Guapdad4000, DJ Fresh and Traxamillion, and the festival spread across several blocks in the Jack London District of Oakland. Tickets generally sell out long before the lineup is confirmed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burger Boogaloo\u003c/h2>\n\u003cp>\u003cem>July 6—7\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>During the first weekend of July, the Burger Boogaloo turns a disused concrete amphitheater in the corner of Mosswood Park into a riot of color of sound. The music festival, a partnership between Total Trash Productions and Southern California label Burger Records, celebrates the campiness of punk and garage rock, and it’s fittingly hosted by the filmmaker John Waters—a sort of spiritual advisor and patron saint to the scene. Its tenth annual edition will draw thousands to Oakland’s Temescal district for first-wave punk acts such as the Dead Boys, newer groups Sheer Mag and Shannon & the Clams and headliner the Jesus & Mary Chain. \u003c/p>\n\u003cfigure id=\"attachment_13832897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg\" alt=\"DJ Twelvz spins at Lake Merrit for "BBQ'n While Black," a celebration of African-American culture sparked by a white woman's widely lampooned police complaint.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13832897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Twelvz spins at Lake Merrit for “BBQ’n While Black,” a celebration of African-American culture sparked by a white woman’s widely lampooned police complaint.\u003c/figcaption>\u003c/figure>\n\u003ch2>BBQin’ While Black at Lake Merritt\u003c/h2>\n\u003cp>\u003cem>July 21\u003cbr>\nLake Merritt, Oakland\u003cbr>\n\u003ca href=\"https://www.gofundme.com/f/BBQnWhileBlack\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>One afternoon last April, a white woman harassed two black men for grilling at Lake Merritt, and proceeded to call the Oakland Police Department. Cell-phone footage of the incident immortalized the woman online as “#BBQBecky,” and prompted a discussion about race and access to public space amid gentrification in Oakland. It also prompted black Oaklanders to double down on the perceived offense by continuing to grill, week in and week out, at Lake Merritt. This year there’s a fundraiser to support more of the same, on an even grander scale.\u003c/p>\n\u003cfigure id=\"attachment_13856933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg\" alt=\"Port of Oakland, from the Oakland estuary.\" width=\"800\" height=\"518\" class=\"size-medium wp-image-13856933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1200x778.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Port of Oakland, from the Oakland estuary. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waterfront Tours\u003c/h2>\n\u003cp>\u003cem>May 17—August 10\u003c/em> \u003c/p>\n\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the \u003ca href=\"https://eastbayyesterday.com/journey-through-centuries-of-waterfront-history/\">East Bay Yesterday\u003c/a> podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11283312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Outdoor Rock ‘n’ Roll Film Screenings at Berkeley Art Museum\u003c/h2>\n\u003cp>\u003cem>June 13—August 8\u003cbr>\nBerkeley Art Museum and Pacific Film Archives, Berkeley\u003cbr>\nMore information \u003c/em>\u003c/p>\n\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments. \u003c/p>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Juneteenth in Berkeley and Richmond\u003c/h2>\n\u003cp>\u003cem>June 15—16\u003cbr>\nAlcatraz-Adeline corridor in \u003ca href=\"http://www.berkeleyjuneteenth.org/\">Berkeley\u003c/a> and Nicholl Park in \u003ca href=\"https://www.ci.richmond.ca.us/427/Festivals\">Richmond\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On June 19, 1865, a regiment of Union soldiers arrived in Galveston, Texas with news that the Civil War was over, and slavery was officially abolished in the United States. Today the event is marked in cities nationwide by Juneteenth, a celebration of black culture and heritage. Berkeley’s festival, which launched in 1987, brings first-rate performers and food, along with historical exhibits and health screenings, to the Alcatraz-Adeline corridor for free. One day earlier in Richmond, meanwhile, a parade orbits the family-friendly festival in Nicholl Park. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure",
"headTitle": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure | KQED",
"content": "\u003cp>The afternoon sun was beating down on Hiero Day when Richie Rich, a veteran of Oakland’s ’90s mobb music scene, closed out his set with the 1990 song “Side Show,” an homage to The Town’s oft-vilified \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2017/11/27/sideshows-spin-donuts-around-police-over-thanksgiving-weekend-in-oakland\" target=\"_blank\" rel=\"noopener\">underground car culture\u003c/a>. After a friendly exchange, rapper Mistah F.A.B., who hosted the main festival stage, brought a special guest to the stage.\u003c/p>\n\u003cp>It was Kenzie Smith, a candidate for Oakland City Council and the man involved in the infamous “BBQ Becky” incident. Smith was suddenly thrust into the spotlight in May after Jennifer Schulte, a white woman, called the police on him while he was having a barbecue at Lake Merritt. The viral incident galvanized black Oaklanders to reclaim public spaces with events like \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ’n While Black\u003c/a>, sending the message to stakeholders that, despite ongoing gentrification and displacement, they’re still here.\u003c/p>\n\u003cp>“He runnin’ for city council, man, for us to make a change so we can have one of our own making the decisions so they don’t push us out, so we can at least have a voice in all this,” said Mistah F.A.B. to the cheering crowd.\u003c/p>\n\u003cp>“They’re not trying to listen to the hip-hop community and think that the hip-hop community will not vote—I’ve heard this in several city council meetings,” said Smith before imploring the audience to register for the November election. The crowd shouted in approval.\u003c/p>\n\u003cfigure id=\"attachment_13840200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9223-800x533.jpg\" alt=\"Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, Sept. 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiero Day, now in its seventh year, has consistently been a triumphant showcase of Oakland’s underground hip-hop culture. But this year’s Labor Day block party and music festival felt particularly significant after a turbulent summer of racist incidents across the Bay Area. With numerous instances of white residents \u003ca href=\"https://abc7news.com/society/permit-patty-who-called-cops-on-8-year-old-selling-water-in-sf-loses-business/3652244/\" target=\"_blank\" rel=\"noopener\">calling the police\u003c/a> on black people engaged in mundane activities, and with the community still reeling from the tragic murder of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">Nia Wilson\u003c/a>, 2018’s Hiero Day became a much-needed celebration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier in the day, West Oakland rapper J. Stalin and his Livewire Records crew put on a rowdy show at the Imperium stage, moshing in the crowd among beaming fans already going hard before the festival had even filled up. J. Stalin, who was raised in the Cypress Village housing projects just down the street from Hiero Day’s West Oakland location, rarely does local shows—often because the \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" target=\"_blank\" rel=\"noopener\">police department shuts them down\u003c/a>. He looked liberated as he strutted across the stage, bouncing while delivering his verses. He received a hero’s welcome from hometown fans as well as the stage’s hosts, outspoken Oakland poet and playwright \u003ca href=\"https://www.kqed.org/arts/13798311/women-to-watch-chinaka-hodge\" rel=\"noopener\" target=\"_blank\">Chinaka Hodge\u003c/a> and Leon “DNas” Sykes, the founder of \u003ca href=\"https://youthradio.org/arts/510-day-reclaiming-gentrified-spaces-in-oakland/\" target=\"_blank\" rel=\"noopener\">510 Day\u003c/a>, another popular anti-gentrification event.\u003c/p>\n\u003cfigure id=\"attachment_13840236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9583-800x533.jpg\" alt=\"Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists’ sets carried a similar air of defiance. Georgia Anne Muldrow, a Stones Throw Records signee with a soulful singing voice, delivered an emotive set of experimental R&B, dancing on stage in her Rastafarian colors. She ended her set with the words “Black power!” Similarly, Freddie Gibbs’s call of “f-ck the police” carried weight in the context of the politically charged day.\u003c/p>\n\u003cp>Amid other significantly pricier and more homogenous festivals in the Bay Area—whose lineups often mirror other festivals around the country—Hiero Day remains special. Its organizers, conscious hip-hop crew Hieroglyphics, have held true to their vision of accessibility and originality. Although this year’s lineup wasn’t as star-studded as 2017’s (\u003ca href=\"https://www.kqed.org/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery\" rel=\"noopener\" target=\"_blank\">which included Lil B, Goapele and Bun B\u003c/a>), Hiero Day managed to spotlight local talent and bring in world-class artists, like Cash Money Records producer Mannie Fresh, while keeping ticket prices low.\u003c/p>\n\u003cp>Year after year, Hieroglyphics’ commitment to their vision ensures a diverse, intergenerational crowd of music lovers. And as gatherings like this become increasingly rare, Hiero Day 2018 served as a reminder of collective power in the face of cultural erasure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Hiero Day 2018\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9270-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9604-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9588-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9569-800x533.jpg\" alt=\"Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9541-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9533-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840232\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9517-800x533.jpg\" alt=\"Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9512-800x533.jpg\" alt=\"Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9508-800x533.jpg\" alt=\"ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9480-800x533.jpg\" alt=\"Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9474-800x533.jpg\" alt=\"The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9429-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9420-800x533.jpg\" alt=\"Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9416-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9400-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dj Fresh plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9390-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9385-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9384-800x533.jpg\" alt=\"Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9376-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9344-800x533.jpg\" alt=\"Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840212\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9336-800x533.jpg\" alt=\"Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9300-800x533.jpg\" alt=\"Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9294-800x533.jpg\" alt=\"DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9280-800x533.jpg\" alt=\"DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9273-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9259-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9242-800x533.jpg\" alt=\"Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "After reports of racist incidents across the Bay Area, this year's Hiero Day was a much-needed community celebration. ",
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"description": "After reports of racist incidents across the Bay Area, this year's Hiero Day was a much-needed community celebration. ",
"title": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure | KQED",
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"headline": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The afternoon sun was beating down on Hiero Day when Richie Rich, a veteran of Oakland’s ’90s mobb music scene, closed out his set with the 1990 song “Side Show,” an homage to The Town’s oft-vilified \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2017/11/27/sideshows-spin-donuts-around-police-over-thanksgiving-weekend-in-oakland\" target=\"_blank\" rel=\"noopener\">underground car culture\u003c/a>. After a friendly exchange, rapper Mistah F.A.B., who hosted the main festival stage, brought a special guest to the stage.\u003c/p>\n\u003cp>It was Kenzie Smith, a candidate for Oakland City Council and the man involved in the infamous “BBQ Becky” incident. Smith was suddenly thrust into the spotlight in May after Jennifer Schulte, a white woman, called the police on him while he was having a barbecue at Lake Merritt. The viral incident galvanized black Oaklanders to reclaim public spaces with events like \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ’n While Black\u003c/a>, sending the message to stakeholders that, despite ongoing gentrification and displacement, they’re still here.\u003c/p>\n\u003cp>“He runnin’ for city council, man, for us to make a change so we can have one of our own making the decisions so they don’t push us out, so we can at least have a voice in all this,” said Mistah F.A.B. to the cheering crowd.\u003c/p>\n\u003cp>“They’re not trying to listen to the hip-hop community and think that the hip-hop community will not vote—I’ve heard this in several city council meetings,” said Smith before imploring the audience to register for the November election. The crowd shouted in approval.\u003c/p>\n\u003cfigure id=\"attachment_13840200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9223-800x533.jpg\" alt=\"Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, Sept. 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiero Day, now in its seventh year, has consistently been a triumphant showcase of Oakland’s underground hip-hop culture. But this year’s Labor Day block party and music festival felt particularly significant after a turbulent summer of racist incidents across the Bay Area. With numerous instances of white residents \u003ca href=\"https://abc7news.com/society/permit-patty-who-called-cops-on-8-year-old-selling-water-in-sf-loses-business/3652244/\" target=\"_blank\" rel=\"noopener\">calling the police\u003c/a> on black people engaged in mundane activities, and with the community still reeling from the tragic murder of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">Nia Wilson\u003c/a>, 2018’s Hiero Day became a much-needed celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier in the day, West Oakland rapper J. Stalin and his Livewire Records crew put on a rowdy show at the Imperium stage, moshing in the crowd among beaming fans already going hard before the festival had even filled up. J. Stalin, who was raised in the Cypress Village housing projects just down the street from Hiero Day’s West Oakland location, rarely does local shows—often because the \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" target=\"_blank\" rel=\"noopener\">police department shuts them down\u003c/a>. He looked liberated as he strutted across the stage, bouncing while delivering his verses. He received a hero’s welcome from hometown fans as well as the stage’s hosts, outspoken Oakland poet and playwright \u003ca href=\"https://www.kqed.org/arts/13798311/women-to-watch-chinaka-hodge\" rel=\"noopener\" target=\"_blank\">Chinaka Hodge\u003c/a> and Leon “DNas” Sykes, the founder of \u003ca href=\"https://youthradio.org/arts/510-day-reclaiming-gentrified-spaces-in-oakland/\" target=\"_blank\" rel=\"noopener\">510 Day\u003c/a>, another popular anti-gentrification event.\u003c/p>\n\u003cfigure id=\"attachment_13840236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9583-800x533.jpg\" alt=\"Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists’ sets carried a similar air of defiance. Georgia Anne Muldrow, a Stones Throw Records signee with a soulful singing voice, delivered an emotive set of experimental R&B, dancing on stage in her Rastafarian colors. She ended her set with the words “Black power!” Similarly, Freddie Gibbs’s call of “f-ck the police” carried weight in the context of the politically charged day.\u003c/p>\n\u003cp>Amid other significantly pricier and more homogenous festivals in the Bay Area—whose lineups often mirror other festivals around the country—Hiero Day remains special. Its organizers, conscious hip-hop crew Hieroglyphics, have held true to their vision of accessibility and originality. Although this year’s lineup wasn’t as star-studded as 2017’s (\u003ca href=\"https://www.kqed.org/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery\" rel=\"noopener\" target=\"_blank\">which included Lil B, Goapele and Bun B\u003c/a>), Hiero Day managed to spotlight local talent and bring in world-class artists, like Cash Money Records producer Mannie Fresh, while keeping ticket prices low.\u003c/p>\n\u003cp>Year after year, Hieroglyphics’ commitment to their vision ensures a diverse, intergenerational crowd of music lovers. And as gatherings like this become increasingly rare, Hiero Day 2018 served as a reminder of collective power in the face of cultural erasure.\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 Hiero Day 2018\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9270-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9604-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9588-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9569-800x533.jpg\" alt=\"Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9541-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9533-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840232\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9517-800x533.jpg\" alt=\"Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9512-800x533.jpg\" alt=\"Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9508-800x533.jpg\" alt=\"ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9480-800x533.jpg\" alt=\"Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9474-800x533.jpg\" alt=\"The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9429-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9420-800x533.jpg\" alt=\"Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9416-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9400-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dj Fresh plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9390-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9385-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9384-800x533.jpg\" alt=\"Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9376-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9344-800x533.jpg\" alt=\"Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840212\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9336-800x533.jpg\" alt=\"Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9300-800x533.jpg\" alt=\"Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9294-800x533.jpg\" alt=\"DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9280-800x533.jpg\" alt=\"DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9273-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9259-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9242-800x533.jpg\" alt=\"Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day Lineup Announced: Black Thought, Freddie Gibbs and More",
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"content": "\u003cp>Hiero Day, Oakland rap crew Hieroglyphics’ homegrown festival, is back for its seventh edition on Labor Day, Sept. 3—this time at the corner of Third Street and Martin Luther King Jr. Way near Oakland’s Jack London Square. [contextly_sidebar id=”x7A9YTP4nM22CZC8Na2gGeJjl4niK89M”]\u003c/p>\n\u003cp>The fest started as a block party and relocated last year to American Steel Studios in West Oakland, the former site of another homegrown music fest, Feels. The American Steel building sold and Hiero Day is back to its street party format.\u003c/p>\n\u003cp>Per usual, the lineup features up-and-coming locals, local legends and a few big names from out of town. This year’s heavy hitters include The Roots’ Black Thought, “Runnin'” MCs The Pharcyde, Cash Money Records producer Mannie Fresh and Freddie Gibbs.\u003c/p>\n\u003cp>Young Gully, one of Oakland’s hardest-working MCs, is featured on this year’s lineup, as well as Guapdad4000, the “Scamboy” rapper and internet class clown. DJs Shellheart and Red Corvette, both rising stars in the Oakland nightlife scene, will be behind the decks, as well as producers DJ Fresh and Traxamillion—who are both responsible for some of the most recognizable beats to come out of the hyphy movement.\u003c/p>\n\u003cp>Check out the full lineup below and more info \u003ca href=\"https://www.eventbrite.com/e/7th-annual-hiero-day-music-festival-tickets-48624711822\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/YoungGully/status/1029443762978582528\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hiero Day, Oakland rap crew Hieroglyphics’ homegrown festival, is back for its seventh edition on Labor Day, Sept. 3—this time at the corner of Third Street and Martin Luther King Jr. Way near Oakland’s Jack London Square. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The fest started as a block party and relocated last year to American Steel Studios in West Oakland, the former site of another homegrown music fest, Feels. The American Steel building sold and Hiero Day is back to its street party format.\u003c/p>\n\u003cp>Per usual, the lineup features up-and-coming locals, local legends and a few big names from out of town. This year’s heavy hitters include The Roots’ Black Thought, “Runnin'” MCs The Pharcyde, Cash Money Records producer Mannie Fresh and Freddie Gibbs.\u003c/p>\n\u003cp>Young Gully, one of Oakland’s hardest-working MCs, is featured on this year’s lineup, as well as Guapdad4000, the “Scamboy” rapper and internet class clown. DJs Shellheart and Red Corvette, both rising stars in the Oakland nightlife scene, will be behind the decks, as well as producers DJ Fresh and Traxamillion—who are both responsible for some of the most recognizable beats to come out of the hyphy movement.\u003c/p>\n\u003cp>Check out the full lineup below and more info \u003ca href=\"https://www.eventbrite.com/e/7th-annual-hiero-day-music-festival-tickets-48624711822\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\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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"excerpt": "The DJ and producer conjures a delicate, relaxed mood in her sets, inspiring other young Asian women in a male-dominated scene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amidst the corrugated, graffiti-lined walls surrounding Oakland’s annual Hiero Day festival early Monday afternoon, San Francisco producer Arumi took the stage as a welcome respite to the day’s more hectic activity. Wearing a white long-sleeve shirt, with her bleached-blonde ends catching the occasional summer breeze, Arumi stood calm and collected as she opened her set with a mashup of Post Malone’s “Congratulations” — a momentary oasis of cool electronic sounds in the sweltering heat.\u003c/p>\n\u003cp>Although the DJ and producer from Los Angeles first learned how to mix in ninth grade, Arumi began seriously releasing music after she graduated from San Francisco State only a year and a half ago. Her characteristically ambient mixing style — an amalgamation of house, hip-hop, and funky synths — has since drawn the attention of many in the local art scene.\u003c/p>\n\u003cp>This year, in addition to Hiero Day, Arumi performed at the Women In Music Bay Area festival, showcased at 1015 Folsom, and produced the track “\u003ca href=\"http://www.thefader.com/2016/10/03/siri-come-with-me-video-gawdbawdy-oakland\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” for emerging Oakland rapper Siri. She’s also appeared in a number of collaborations with Oakland art collective \u003ca href=\"http://www.levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>, as well as with Vanessa Nguyen, one of its founding members.\u003c/p>\n\u003cfigure id=\"attachment_13807816\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg\" alt=\"Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Arumi.INLINE-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arumi performs at Hiero Day in West Oakland, Sept. 4, 2017. \u003ccite>(Courtesy Arumi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone in the Bay Area has been super supportive. It’s been a really good experience because there’s such a tight music and art community,” she explains. “I’ve never felt competition, even with females. I feel like if I started in L.A., it’d be completely different, so I’m very thankful that I’m in the Bay right now, doing everything I’m doing.”\u003c/p>\n\u003cp>And as a female musician in a male-dominated industry, Arumi draws a great deal of inspiration from others in the same milieu. Los Angeles record label and music collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a>, for instance, is one of the producer’s primary influences for its unique sound and women-heavy roster of DJs. Citing artists like Tokimonsta, Peggy Guo, Mija, and Black Madonna as inspirations alludes to the significant effect that female DJs — especially Asian female DJs — have had on Arumi’s own work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Females definitely have to prove themselves, I feel like. Especially in the music industry, because it’s so male-dominated,” Arumi says. “There’s just something unspoken about [working with women] that makes things flow a little better. We’re more on the same page… But yeah, we’re getting there. We can do it.”\u003c/p>\n\u003cp>In terms of incorporating her own cultural and ethnic heritage into her music, the artist — of Korean and Japanese descent — hopes to include pieces of traditional sounds she can alter to create her own unique work. For her, the small pockets of cultural sound are meant to bring exposure to her East Asian background.\u003c/p>\n\u003cp>“I get messages from young Asian females saying that what I’m doing is dope and that I inspire them — and that means the world to me,” she shares with a wide smile. “I’d love to see more Asian females in the game, you know? There are Asian females doing it for me, so I just want to be able to give back and do it for others.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/323113399&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For now, Arumi is looking to expand the bright, easygoing style of her mixes to full-fledged production. Despite the fact that much of her work currently skews hip-hop (such as Arumi’s Hiero Day set, for instance), the producer wants to explore more experimental genres going forward. That means collaborating with even more members of the Bay’s rich, talented art scene, and making songs for artists that she believes in — especially those who focus on house or electronic music. When producing, however, Arumi says she immortalizes \u003cem>feelings\u003c/em> in her songs rather than particular sounds or styles.\u003c/p>\n\u003cp>“If I hear something that inspires me, I’ll try to recreate a similar vibe. It can be one sound, and I can put it together and build a whole song around it,” Arumi describes. “[I try to capture] whatever I am feeling, or something that makes me feel a certain way. Like [when] you feel something and wanna capture it, so you do your best to recreate that.”\u003c/p>\n\u003cp>Judging by the dreamy, dance-y set she played at Hiero Day, Arumi definitely knows how to capture a feeling. And looking at the strides she’s taken in the Bay Area music scene so far, she’s not afraid to share it.\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": "Hiero Day 2017: Music Highlights and Photo Gallery",
"headTitle": "Hiero Day 2017: Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>On the tail end of the \u003ca href=\"http://www.mercurynews.com/2017/09/01/bay-area-weather-scorching-temperatures-will-produce-hottest-days-in-a-decade/\" target=\"_blank\" rel=\"noopener\">great Bay Area heatwave of 2017\u003c/a>, a diverse crowd of hip-hop fans spent Labor Day hanging out between artist warehouses and towering Burning Man sculptures at 18th and Poplar Streets in West Oakland. In previous years, Hiero Day was held in the street and felt more like a block party — but for its sixth iteration, Hiero Day provided a full-on festival experience, though with a more grassroots, underground feel than Outside Lands or Treasure Island. \u003c/p>\n\u003cp>Along with members of the long-running East Bay hip-hop collective Hieroglyphics, who \u003ca href=\"https://www.amoeba.com/blog/2012/09/jamoeblog/hiero-day-shows-love-for-oakland-by-keeping-it-in-the-town-.html\" target=\"_blank\" rel=\"noopener\">founded Hiero Day in 2012\u003c/a> and headline each year, Bay Area artists like Mistah F.A.B. and IAMSU could be spotted roaming through the audience. Rare out-of-town veterans like Bun B and Yo-Yo were a treat to see onstage. And though the festival ran slightly off-schedule, the mood was upbeat and mellow, with the new spacious festival layout giving fans room to get up close and personal with their favorite artists. \u003c/p>\n\u003cp>Check our recap of the five most outstanding acts at this year’s Hiero Day, and scroll down to see our photo slideshow below. \u003c/p>\n\u003cfigure id=\"attachment_13807485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg\" alt=\"Rayana Jay performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rayana Jay\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay’s\u003c/a> rise over the past year has been a fast, wild ride, and the singer herself at times seemed surprised by how enthusiastically her audience sang along to tracks from her breakout mixtape, \u003cem>Sorry About Last Night\u003c/em>. Jay premiered her new track, “Sunkissed,” a smooth, groovy track from her upcoming EP \u003cem>Morning After\u003c/em> that celebrates black beauty. She prefaced the song with acknowledgement of the recent resurgence of white supremacists: “I wrote this song to say ‘If nobody else got y’all, I got y’all,’” said Jay to her fans of color. The ’70-hued track had her guitarist JHawk channeling Santana while Jay’s velvety voice soared. When she performed “Magic,” a funky, disco-inflected love song, Jay’s elementary-school-aged cousin came on stage and showed off her adorable dance moves. Jay closed out her set with two surprises: Guest performances from Mistah F.A.B. (who paid homage to Mac Dre with “Still Feelin’ It”) and Sick Wid It Records’ \u003ca href=\"https://ww2.kqed.org/arts/2017/08/01/talking-with-omb-peezy-the-bay-areas-missing-link-to-southern-rap/\" target=\"_blank\" rel=\"noopener\">latest signee, OMB Peezy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg\" alt=\"Bun B performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bun B performs at Hiero Day 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bun B\u003c/h2>\n\u003cp>Dirty South legend Bun B was a necessary, grounding presence at Hiero Day. Though most of his set was upbeat, the Houston rapper took the time to hold a moment of silence for victims of Hurricane Harvey and other lost loved ones — including his longtime partner in UGK, Pimp C. Even as \u003ca href=\"http://www.rollingstone.com/music/news/bun-b-on-hurricane-harvey-its-worse-than-everyone-thought-w500099\" target=\"_blank\" rel=\"noopener\">his hometown remained underwater\u003c/a>, Bun B’s set offered a semblance of hope amidst continuing reports of the storm’s devastating effects. (Bun B is hosting a \u003ca href=\"http://handinhand2017.com/\" target=\"_blank\" rel=\"noopener\">telethon\u003c/a> to benefit hurricane victims on Sept. 12 at 8pm EST.) And on a technical level, he was impressive, rapping in his smooth baritone sans backing-vocal track and absolutely nailing every song. He paid homage to the South’s custom car culture with the candy-paint Cadillac anthem “Draped Up.” The audience rapped along to his defining verse on UGK’s “International Player’s Anthem,” and he also performed his features on Jay Z’s “Big Pimpin” and Three 6 Mafia’s “Sippin’ on Some Syrup.” \u003c/p>\n\u003cfigure id=\"attachment_13807490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg\" alt=\"Goapele performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Goapele\u003c/h2>\n\u003cp>Goapele looked like a vision of summer in her cutoff shorts and billowing kimono, and murmurs of admiration for her voice, hair, and outfit could be heard throughout the crowd. “I’m standing up here as a mom, an artist, as someone who cares about the future. A daughter of immigrants, an activist,” she said before performing “Stand,” the protest song she wrote in response to Oscar Grant’s murder at the hands of police. She mostly played tracks from her recent EP, \u003cem>Dreamseeker\u003c/em>, but the audience rejoiced when they heard the opening chords to “Closer to My Dreams,” a gorgeous, uplifting track about realizing your destiny. Oakland singer Adrian Marcel came out to fill in for BJ the Chicago Kid’s feature on “Stay,” and stuck around to perform one of his own tracks. But the emotional highpoint of Goapele’s set came when she sang part of Sam Cooke’s civil rights anthem “A Change is Gonna Come” a capella, sending chills up everyone’s spines. \u003c/p>\n\u003cfigure id=\"attachment_13807491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg\" alt=\"Lil B performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lil B\u003c/h2>\n\u003cp>Lil B’s set was the most climactic point of Hiero Day; as soon as the bass line of “Bitch Mob” came on, the energy in the crowd multiplied a dozen-fold. IAMSU and Rexx Life Raj climbed onto the stage, dreads swinging, while Mistah F.A.B., a godfather of hyphy, proudly looked on. Lil B also brought out Koran Streets, Kool John, and other peers in the rap scene, and everyone danced together gleefully, like one big family. Onstage and in the crowd, mosh pits erupted as Lil B performed “Like a Martian,” and throughout his set, he offered affirmations and goofy quips. “Yeah, I got fat and Donald Trump’s the president,” he said as he took off his shirt while performing “I Own Swag.” He then exemplified the message of peace and positivity he preaches online in the most beautiful way: He brought out his guitar and keyboard, and gave them away to two lucky young fans, encouraging them to learn to make music too. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/HieroImperium/status/904924158269652992\u003c/p>\n\u003ch2>Hieroglyphics\u003c/h2>\n\u003cp>Press about Hiero Day rarely goes into detail about Hieroglyphics, because they’re the headliners every year — but the legendary Oakland crew’s set was a reminder of why they’re the best at what they do. It’s pretty remarkable that the nine-person collective continues to collaborate after a decade-plus of working together, and their camaraderie was palpable on stage. The bandmates hyped each other during each other’s verses and all seven MCs got their due in the festival’s short closing time slot. Hiero classics like “You Never Knew” and Souls of Mischief’s “’93 Til Infinity” transported the audience to Hieroglyphics’ ’90s heyday and served a reminder of the fact that the crew helped pioneer the freewheeling, individualistic Bay Area hip-hop culture celebrated onstage throughout Hiero Day. Opio, one of the Souls of Mischief MCs, closed the show by inviting the audience to hold up peace signs in defiance of the recent white nationalist rallies in the Bay Area, calling for the community to stand together in a gesture of unity as the sun went down.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"large\" ids=\"13807493,13807489,13807492,13807488,13807490,13807487,13807491,13807486,13807485,13807410,13807484,13807409,13807408,13807403,13807407,13807404,13807405,13807406,13807402,13807401,13807400,13807399,13807398,13807397,13807396,13807395\" orderby=\"rand\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"excerpt": "In a new, spacious location, this year's Hiero Day brought out new local talent and out-of-town hip-hop veterans alike.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the tail end of the \u003ca href=\"http://www.mercurynews.com/2017/09/01/bay-area-weather-scorching-temperatures-will-produce-hottest-days-in-a-decade/\" target=\"_blank\" rel=\"noopener\">great Bay Area heatwave of 2017\u003c/a>, a diverse crowd of hip-hop fans spent Labor Day hanging out between artist warehouses and towering Burning Man sculptures at 18th and Poplar Streets in West Oakland. In previous years, Hiero Day was held in the street and felt more like a block party — but for its sixth iteration, Hiero Day provided a full-on festival experience, though with a more grassroots, underground feel than Outside Lands or Treasure Island. \u003c/p>\n\u003cp>Along with members of the long-running East Bay hip-hop collective Hieroglyphics, who \u003ca href=\"https://www.amoeba.com/blog/2012/09/jamoeblog/hiero-day-shows-love-for-oakland-by-keeping-it-in-the-town-.html\" target=\"_blank\" rel=\"noopener\">founded Hiero Day in 2012\u003c/a> and headline each year, Bay Area artists like Mistah F.A.B. and IAMSU could be spotted roaming through the audience. Rare out-of-town veterans like Bun B and Yo-Yo were a treat to see onstage. And though the festival ran slightly off-schedule, the mood was upbeat and mellow, with the new spacious festival layout giving fans room to get up close and personal with their favorite artists. \u003c/p>\n\u003cp>Check our recap of the five most outstanding acts at this year’s Hiero Day, and scroll down to see our photo slideshow below. \u003c/p>\n\u003cfigure id=\"attachment_13807485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg\" alt=\"Rayana Jay performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0063-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rayana Jay\u003c/h2>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay’s\u003c/a> rise over the past year has been a fast, wild ride, and the singer herself at times seemed surprised by how enthusiastically her audience sang along to tracks from her breakout mixtape, \u003cem>Sorry About Last Night\u003c/em>. Jay premiered her new track, “Sunkissed,” a smooth, groovy track from her upcoming EP \u003cem>Morning After\u003c/em> that celebrates black beauty. She prefaced the song with acknowledgement of the recent resurgence of white supremacists: “I wrote this song to say ‘If nobody else got y’all, I got y’all,’” said Jay to her fans of color. The ’70-hued track had her guitarist JHawk channeling Santana while Jay’s velvety voice soared. When she performed “Magic,” a funky, disco-inflected love song, Jay’s elementary-school-aged cousin came on stage and showed off her adorable dance moves. Jay closed out her set with two surprises: Guest performances from Mistah F.A.B. (who paid homage to Mac Dre with “Still Feelin’ It”) and Sick Wid It Records’ \u003ca href=\"https://ww2.kqed.org/arts/2017/08/01/talking-with-omb-peezy-the-bay-areas-missing-link-to-southern-rap/\" target=\"_blank\" rel=\"noopener\">latest signee, OMB Peezy\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13807405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg\" alt=\"Bun B performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_6441-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bun B performs at Hiero Day 2017. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bun B\u003c/h2>\n\u003cp>Dirty South legend Bun B was a necessary, grounding presence at Hiero Day. Though most of his set was upbeat, the Houston rapper took the time to hold a moment of silence for victims of Hurricane Harvey and other lost loved ones — including his longtime partner in UGK, Pimp C. Even as \u003ca href=\"http://www.rollingstone.com/music/news/bun-b-on-hurricane-harvey-its-worse-than-everyone-thought-w500099\" target=\"_blank\" rel=\"noopener\">his hometown remained underwater\u003c/a>, Bun B’s set offered a semblance of hope amidst continuing reports of the storm’s devastating effects. (Bun B is hosting a \u003ca href=\"http://handinhand2017.com/\" target=\"_blank\" rel=\"noopener\">telethon\u003c/a> to benefit hurricane victims on Sept. 12 at 8pm EST.) And on a technical level, he was impressive, rapping in his smooth baritone sans backing-vocal track and absolutely nailing every song. He paid homage to the South’s custom car culture with the candy-paint Cadillac anthem “Draped Up.” The audience rapped along to his defining verse on UGK’s “International Player’s Anthem,” and he also performed his features on Jay Z’s “Big Pimpin” and Three 6 Mafia’s “Sippin’ on Some Syrup.” \u003c/p>\n\u003cfigure id=\"attachment_13807490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg\" alt=\"Goapele performs at Hiero Day 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13807490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0273-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Goapele\u003c/h2>\n\u003cp>Goapele looked like a vision of summer in her cutoff shorts and billowing kimono, and murmurs of admiration for her voice, hair, and outfit could be heard throughout the crowd. “I’m standing up here as a mom, an artist, as someone who cares about the future. A daughter of immigrants, an activist,” she said before performing “Stand,” the protest song she wrote in response to Oscar Grant’s murder at the hands of police. She mostly played tracks from her recent EP, \u003cem>Dreamseeker\u003c/em>, but the audience rejoiced when they heard the opening chords to “Closer to My Dreams,” a gorgeous, uplifting track about realizing your destiny. Oakland singer Adrian Marcel came out to fill in for BJ the Chicago Kid’s feature on “Stay,” and stuck around to perform one of his own tracks. But the emotional highpoint of Goapele’s set came when she sang part of Sam Cooke’s civil rights anthem “A Change is Gonna Come” a capella, sending chills up everyone’s spines. \u003c/p>\n\u003cfigure id=\"attachment_13807491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg\" alt=\"Lil B performs at Hiero Day 2017.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13807491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DSC_0332-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Hiero Day 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lil B\u003c/h2>\n\u003cp>Lil B’s set was the most climactic point of Hiero Day; as soon as the bass line of “Bitch Mob” came on, the energy in the crowd multiplied a dozen-fold. IAMSU and Rexx Life Raj climbed onto the stage, dreads swinging, while Mistah F.A.B., a godfather of hyphy, proudly looked on. Lil B also brought out Koran Streets, Kool John, and other peers in the rap scene, and everyone danced together gleefully, like one big family. Onstage and in the crowd, mosh pits erupted as Lil B performed “Like a Martian,” and throughout his set, he offered affirmations and goofy quips. “Yeah, I got fat and Donald Trump’s the president,” he said as he took off his shirt while performing “I Own Swag.” He then exemplified the message of peace and positivity he preaches online in the most beautiful way: He brought out his guitar and keyboard, and gave them away to two lucky young fans, encouraging them to learn to make music too. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> is a homegrown Oakland tradition — an all-day, family-friendly block party celebrating the musical legacy of \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> and the ’90s hip-hop scene that gave them their rise. While the legendary conscious hip-hop collective closes out each year’s Labor Day festival (in a new location this year, on 18th and Poplar Streets in West Oakland), this year’s edition features plenty of hometown heroes and big-name national acts. \u003c/p>\n\u003cp>Artists not to miss include Oakland’s first lady of R&B, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/goapele-keeps-weaves-sultry-rb-with-activism-on-dreamseeker/\" target=\"_blank\" rel=\"noopener\">Goapele\u003c/a>; Texas giant \u003ca href=\"https://twitter.com/bunbtrillog?lang=en\" target=\"_blank\" rel=\"noopener\">Bun B\u003c/a>; underground hip-hop champions \u003ca href=\"https://www.youtube.com/watch?v=oiusDE0KND8\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a>; pioneering female gangsta rapper \u003ca href=\"https://www.youtube.com/watch?v=_rJe2tOS90E\" target=\"_blank\" rel=\"noopener\">Yo-Yo\u003c/a>; rising Richmond singer \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>; and, of course, \u003ca href=\"https://www.eastbayexpress.com/oakland/communing-with-the-based-god/Content?oid=4604909\" target=\"_blank\" rel=\"noopener\">Lil B the Based God\u003c/a>. But other than these oft-talked-about performers, Hiero Day features many up-and-coming artists worthy of attention. To help you navigate the fest, we’ve rounded up six must-see rising artists who might not be on your radar. \u003c/p>\n\u003cp>https://youtu.be/8dOySPXcC1M\u003c/p>\n\u003ch3>YMTK\u003c/h3>\n\u003cp>YMTK got his start singing in church in his native Oakland, and his soulful sensibilities shine through his paradisiacal, sun-soaked party jams. The L.A.-based singer’s velvety R&B vocals glide over house beats and trunk-shaking Town bass lines alike. \u003c/p>\n\u003cp>https://youtu.be/fiW9qdxlZg0\u003c/p>\n\u003ch3>Ezale\u003c/h3>\n\u003cp>Ezale represents the East Oakland neighborhood Funktown, named for a gang that reigned the area in the ’80s. But his neighborhood’s nickname also describes the exuberant rapper’s old-school, funky sound. His street anthems “Five Minutes of Funktown” and “Too High” have made him a local favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/323113399″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \u003c/p>\n\u003cp>https://youtu.be/jI56LrPKMqo\u003c/p>\n\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\u003c/p>\n\u003cp>https://youtu.be/QQzRU8IC0mg\u003c/p>\n\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\u003c/p>\n\u003cp>https://youtu.be/vV71CEm-svU\u003c/p>\n\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \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=\"alignnone 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/323113399″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/323113399″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp> \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \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/jI56LrPKMqo'\n title='//www.youtube.com/embed/jI56LrPKMqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\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/QQzRU8IC0mg'\n title='//www.youtube.com/embed/QQzRU8IC0mg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\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/vV71CEm-svU'\n title='//www.youtube.com/embed/vV71CEm-svU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \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=\"alignnone 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6fAQlZECJ4\u003c/p>\n\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=83wOmk9yLPs\u003c/p>\n\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xnJBBsTO2OQ\u003c/p>\n\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'",
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"description": "The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'",
"title": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan | KQED",
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"headline": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan",
"datePublished": "2016-09-16T08:00:29-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \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/J6fAQlZECJ4'\n title='//www.youtube.com/embed/J6fAQlZECJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\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/83wOmk9yLPs'\n title='//www.youtube.com/embed/83wOmk9yLPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\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/xnJBBsTO2OQ'\n title='//www.youtube.com/embed/xnJBBsTO2OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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