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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a>‘s free-association raps sound like the artist’s neurons are firing at 100 miles per hour. Full of quirky humor and out-there metaphors, his funky, psychedelic new album \u003cem>Calibration of an Altered Mind \u003c/em>dropped last week on Nov. 9. It’s the cult Oakland artist’s first release since his \u003ca href=\"https://www.spin.com/2015/01/monster-rally-jay-stone-foreign-pedestrians-album-of-the-week/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> 2015 project with Monster Rally, \u003cem>Foreign Pedestrians\u003c/em>. To celebrate, Stone performs at \u003ca href=\"https://legionnairesaloon.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>, an experimental, D.I.Y. hip-hop party at the Legionnaire Saloon in Oakland on Nov. 17.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At a time when lyrical hip-hop (in the traditional sense) seems to be going out of style, Stone is an artist who pays close attention to the craft of rhyming. But that’s not to say he’s overly self-serious, like those who consider themselves among the “last real MCs” tend to be—quite the opposite, actually. His playful verses attest to the elasticity and imaginative possibilities of rhythm and language. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Queens D.Light, Stone’s partner who released her own excellent album, \u003cem>Flavor of Green\u003c/em>, earlier this year, is featured extensively on \u003cem>Calibration of an Altered Mind\u003c/em>. She performs with Stone at Smart Bomb, along with Heru, Demahjiae and DJ Richlo. Details \u003ca href=\"https://www.instagram.com/p/BqNfiLUBDWz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3265979296/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life",
"headTitle": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay’s Scrappiness to Life | KQED",
"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Big Freedia Is The 21st Century's Ambassador Of Freedom",
"headTitle": "Big Freedia Is The 21st Century’s Ambassador Of Freedom | KQED",
"content": "\u003cp>\u003cem>It’s not enough to make list after list. The Turning the Tables project seeks to suggest alternatives to the traditional popular music canon, and to do more than that, too: to stimulate conversation about how hierarchies emerge and endure. This year, Turning the Tables considers how women and non-binary artists are shaping music in our moment, from the pop mainstream to the sinecures of jazz and contemporary classical music. Our list of the 200 Greatest Songs By Women+ offers a soundtrack to a new century. This series of essays takes on another task.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The 25 arguments writers make in these pieces challenge the usual definitions of influence. Some rethink the building legacies of popular artists; others celebrate those who create within subcultures, their innovations rippling outward over time. As always, women forge new pathways in sound; today, they also make waves under the surface of culture by confronting, in their music, the increased fluidity of “woman” itself. What is a woman? It’s a timeless question on the surface, but one deeply engaged with whatever historical moment in which it is asked. Our 25 Most Influential Women+ Musicians of the 21st Century illuminate its complexities. —Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>On the day after Halloween 2014, \u003ca href=\"https://www.npr.org/artists/504998599/big-freedia\">Big Freedia\u003c/a>‘s set at the Voodoo Experience festival in New Orleans’ City Park kicked off with a costume extravaganza evoking the French royal court from before Louisiana was purchased. Bedecked in rococo lace, feathers, ribbons and curled wigs, a cadre of dancers flanked their leader in a fierce \u003cem>tableau vivant\u003c/em> tribute to Versailles style (or, perhaps, Madonna circa the 1990 VMAs).\u003c/p>\n\u003cp>The hometown gig was the wrap for a six-week tour that capped off another successful year for Freedia, including more marquee festival gigs, the well-received release of \u003cem>Just Be Free — \u003c/em>Freedia’s first album of new material since the rapper’s 2003 debut \u003cem>Queen Diva\u003c/em> — and a GLAAD Media Award for the Fuse TV reality show “Big Freedia: Queen of Bounce.” The elaborate opening to the Voodoo performance was a big step up in production value from the years’ worth of shows that had more than succeeded on pure athleticism — and a visually literal coronation, on home turf, for the fast-rising star. But in the middle of the triumphant homecoming, the queen was quick to cede the throne to a pair of unannounced guests.\u003c/p>\n\u003cp>[contextly_sidebar id=”wmItkBRLagwu5CLbBifk5tJUSSVtTMcO”]\u003c/p>\n\u003cp>The Showboys were a New York rap duo whose 1986 Profile Records cut “Drag Rap (Trigger Man)” had become a sort of common ancestor for New Orleans bounce music. In the late ’80s and early ’90s, when bounce was taking shape live in nightclubs, “Drag Rap” hit big in New Orleans. When local artists started making original tracks, elements of the song — its booming 808 bass beat, an ominous synthesizer quotation of the \u003cem>Dragnet \u003c/em>theme and especially a tense, repetitive \u003cem>doodoodoodoo \u003c/em>run of short high notes that became known as the “Triggerman bells” — became signatures of the new sound. “Through repetition,” wrote Dr. Matt Miller in his 2012 book \u003cem>Bounce: Rap Music and Local Identity in New Orleans\u003c/em>, “the sample has become an icon of the bounce style, to the extent that even in isolation it connotes New Orleans for rap aficionados.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Showboys’ own story should surprise nobody familiar with the vagaries of the music industry; they never got to profit much off their song’s popularity down South in either money or renown. The audience watching Freedia at the 2014 Voodoo, which is mostly a popular rock and EDM festival and not particularly aimed at locals, wasn’t really one to get its mind blown open by the surprise showing. All of that is meant to say: Freedia used one of her moments in an increasingly bright spotlight to put the shine, instead, on the unsung history that came before.\u003c/p>\n\u003cp>It was a statement about visibility, which is key to Freedia’s mission and influence as an artist — the right to be seen. Big Freedia has always repped New Orleans, the creatively exceptional city that has always resolutely (and, uh, literally) marched to the beat of its own drummer, and the music and culture-makers that make it swing, even deep under the radar. She’s become famous doing it – way more so than any other practitioner of bounce, which for decades was a hyper-regional, street-level sound. In doing so, importantly, she’s amplified New Orleans history (and in an increasingly global pop world, really, the whole \u003cem>idea\u003c/em> of retaining fealty to deep-rooted local identity) to new audiences. And she’s done it by insisting on being her \u003cem>sui generis \u003c/em>self, a gay black man with a feminine stage name and fluid pronouns. You too, Freedia seems to say, should be proud of where you came from and be nothing less than who you are.\u003c/p>\n\u003cp>[contextly_sidebar id=”196Vw4E6m4hAnG52b9gYA7Af8aVJr8AZ”]\u003c/p>\n\u003cp>Though Freedia started out as a backup dancer for her friend Katey Red, a transgender bounce rapper who dropped her first album in 1999, she hit with real force just after Hurricane Katrina. In the wake of the floods, there was tremendous support for music from New Orleans nationally, and both emotional and pragmatic reasons to travel with it for artists: People in exile wanted to hear the sound of home, and with fewer stages in the city, the artists (who were sometimes unstable in their living situations in New Orleans themselves) needed to travel to work. Freedia built a name exponentially, performing a punishing regular schedule in New Orleans and Houston and soon, beyond. She also expanded her reach outside of the traditional Southern hip-hop scene after hooking up with Rusty Lazer, a DJ and drummer for a freaky-jazz cabaret group. On the road with him, Freedia crashed on couches and got introduced to a queer-friendly punk scene that loved to dance. (Fans of Peaches liking Big Freedia — who would have guessed?) Diplo got involved, and so did RuPaul, but the core essence of the sound stayed true: rattling beats and big, joyous, call-and-response shouts.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Big Freedia, Diplo, DJ Snake - Drop (Official video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bHNiNP3hDkU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the same force Freedia uses to command crowds to shake, twerk, wobble and exercise, if you ask the rapper what pronouns are preferred, she’ll tell you to pick. (I am using “she/her” here because those are the ones with which Freedia was introduced to me, somewhere around early 2008.) This fluidity sometimes seems less about Freedia’s own identity – she usually refers to herself as a gay man, when pressed – than a comment on what such labels mean, and whose problem they are. (If you require one, then it’s yours.)\u003c/p>\n\u003cp>That flexibility, too, has precedent in New Orleans, the city that builds its calendar around a lengthy holiday celebrating, in part, the whole idea of being more truly yourself by casting off boring strictures of dress and identity. Big Freedia fits into a grand lineage of black New Orleans performers who made gender identity fall in line behind who they were as artists and as people; for instance, Bobby Marchan, a gay man from Youngstown, Ohio, who arrived in the city with a female impersonators’ troupe called the Powder Box Revue in the late 1940s and made a splash at the New Orleans nitery the Dew Drop Inn.\u003c/p>\n\u003cp>[contextly_sidebar id=”M9zWrgJV0CpDCiyJcTP6szC8wYud4tbO”]\u003c/p>\n\u003cp>A restaurant, barbershop, and, crucially during the years of Jim Crow, a hotel where marquee black entertainers including Ray Charles and Duke Ellington stayed, the Dew Drop was more than just a stage. As the late Charles Neville put it in authors Jason Berry and Tad Jones’s sweeping postwar New Orleans music history \u003cem>Up From the Cradle of Jazz\u003c/em>, it was a clubhouse where you could find local music royalty at any hour of the day or night – and more than that, it was a place to nourish the spirit in a world that, for black artists, was fraught with danger for black artists plying their trade on the road.\u003c/p>\n\u003cp>“Okay, here’s what we wanted to do,” Neville told the writers. “Play music and pit ourselves against all of that. With little places like the Dew Drop, these oases where we could regroup and recover made the music that happened there kind of special. There were things projected into the music there that was not there on the road. There was that sense of security about being there, and that sense of belonging with the strangers who were there, but who were not, in fact, strangers, because they were members of this same order.”\u003c/p>\n\u003cp>The star of the Dew Drop, where Bobby Marchan became a regular patron and performer, was Irving Ale, who performed and presided over the entertainment as mistress of ceremonies Patsy Vidalia. Other out gay artists, like the wild pianists Esquerita and James Booker, were fixtures too, but Marchan is especially notable because of where his long career wound up. After a stint as a soul singer with a few solid hits, Bobby Marchan – who presented on and off as masculine or feminine as it pleased him over the years and liked to use the catchphrase “I’m not a woman, I’m not a man, I’m Bobby Marchan!” – settled into a second (third?) act. From the dawn of rap in New Orleans until his death, he was the godfather of New Orleans hip-hop, managing, advising and promoting artists including Mystikal and the Hot Boys. Cash Money Records footed the bill for his 1999 funeral.\u003c/p>\n\u003cp>All that considered, Freedia didn’t grow up as an artist in a community that necessarily accepted gay or gender-nonconforming artists across the board. There were still doors that were closed to Freedia – or only cracked open a little bit – in the local hip-hop scene for months and years after they would have swung wide open for straight-presenting men or women. But success bred success (an early indicator being, perhaps, \u003ca href=\"https://www.npr.org/artists/17682423/lil-wayne\">Lil Wayne\u003c/a> quoting Freedia’s signature early banger “Gin In My System” on a mixtape track) and soon, if counter-intuitively, national write-ups and awards begat total public local embrace. In turn, importantly, that led to greater visibility for younger gay artists on the grassroots New Orleans scene, including the late shooting star Nicky da B – who, like Freedia, was slowly and judiciously bringing dance influences from the wider world into the studio to meet what New Orleanians call That (Dat) Beat. After and because of Freedia, it’s less a city that lets everyone have their own room; it’s a city where everyone is in every room.\u003c/p>\n\u003cp>It would be reductive to say that bounce was a hothouse regional ’90s style that Freedia shot new life into, or helped to “cross over,” although both ideas have some truth to them. Could any other artist have done it? Years before \u003ca href=\"https://www.npr.org/artists/250250872/drake\">Drake \u003c/a>worked with Freedia and her longtime producer BlaqNMild on the hit “Nice for What,” or \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé \u003c/a>hired her to lend that unmistakable bellow to “Formation,” top-selling artists were borrowing the sound – Bey on “Get Me Bodied,” for example, or T.I. collaborating with Lil Wayne on “Ball,” with its musical tip of the hat to the Triggerman bells and a video shot in the streets of Hollygrove, a stylistic throwback to the ’90s glory days of Cash Money videos. The imprimatur of the big guns takes Freedia, and her steadfast New Orleans identity, even more global, linking her to the biggest names in popular music (Freedia, in a “Formation”-referencing wide-brimmed black hat, introduced the Queen B herself onstage at the Superdome at the end of 2016; Lil Wayne invited her into his pantheon of guests and acknowledged influences at multiple Lil Weezyana Fests.) And she gives back, too: Any international star gets deep, regional, block-level terroir from Freedia, a singular factor. How could you see someone who loves and trusts herself so much and \u003cem>not\u003c/em> follow them to the dance floor?\u003c/p>\n\u003cp>[contextly_sidebar id=”uFEdcByMLtnO6mVBr3TH3h7ido2axI1y”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>An oasis is by definition rare; it wouldn’t be so refreshing if the land surrounding it weren’t so barren. It’d be nice to think that the world out there is safer than when Charles Neville identified the Dew Drop as one, a place where you could finally relax enough to make your art, be yourself, shake it off. Either way, in solid New Orleans tradition, every Big Freedia show is a mobile oasis — pushing back the desert beat by beat.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Big+Freedia+Is+The+21st+Century%27s+Ambassador+Of+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Big Freedia has always repped New Orleans, becoming famous by insisting on being her \u003cem>sui generis\u003c/em> self. How could you see someone who loves herself so much and \u003cem>not\u003c/em> follow her to the dance floor?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>It’s not enough to make list after list. The Turning the Tables project seeks to suggest alternatives to the traditional popular music canon, and to do more than that, too: to stimulate conversation about how hierarchies emerge and endure. This year, Turning the Tables considers how women and non-binary artists are shaping music in our moment, from the pop mainstream to the sinecures of jazz and contemporary classical music. Our list of the 200 Greatest Songs By Women+ offers a soundtrack to a new century. This series of essays takes on another task.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The 25 arguments writers make in these pieces challenge the usual definitions of influence. Some rethink the building legacies of popular artists; others celebrate those who create within subcultures, their innovations rippling outward over time. As always, women forge new pathways in sound; today, they also make waves under the surface of culture by confronting, in their music, the increased fluidity of “woman” itself. What is a woman? It’s a timeless question on the surface, but one deeply engaged with whatever historical moment in which it is asked. Our 25 Most Influential Women+ Musicians of the 21st Century illuminate its complexities. —Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>On the day after Halloween 2014, \u003ca href=\"https://www.npr.org/artists/504998599/big-freedia\">Big Freedia\u003c/a>‘s set at the Voodoo Experience festival in New Orleans’ City Park kicked off with a costume extravaganza evoking the French royal court from before Louisiana was purchased. Bedecked in rococo lace, feathers, ribbons and curled wigs, a cadre of dancers flanked their leader in a fierce \u003cem>tableau vivant\u003c/em> tribute to Versailles style (or, perhaps, Madonna circa the 1990 VMAs).\u003c/p>\n\u003cp>The hometown gig was the wrap for a six-week tour that capped off another successful year for Freedia, including more marquee festival gigs, the well-received release of \u003cem>Just Be Free — \u003c/em>Freedia’s first album of new material since the rapper’s 2003 debut \u003cem>Queen Diva\u003c/em> — and a GLAAD Media Award for the Fuse TV reality show “Big Freedia: Queen of Bounce.” The elaborate opening to the Voodoo performance was a big step up in production value from the years’ worth of shows that had more than succeeded on pure athleticism — and a visually literal coronation, on home turf, for the fast-rising star. But in the middle of the triumphant homecoming, the queen was quick to cede the throne to a pair of unannounced guests.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Showboys were a New York rap duo whose 1986 Profile Records cut “Drag Rap (Trigger Man)” had become a sort of common ancestor for New Orleans bounce music. In the late ’80s and early ’90s, when bounce was taking shape live in nightclubs, “Drag Rap” hit big in New Orleans. When local artists started making original tracks, elements of the song — its booming 808 bass beat, an ominous synthesizer quotation of the \u003cem>Dragnet \u003c/em>theme and especially a tense, repetitive \u003cem>doodoodoodoo \u003c/em>run of short high notes that became known as the “Triggerman bells” — became signatures of the new sound. “Through repetition,” wrote Dr. Matt Miller in his 2012 book \u003cem>Bounce: Rap Music and Local Identity in New Orleans\u003c/em>, “the sample has become an icon of the bounce style, to the extent that even in isolation it connotes New Orleans for rap aficionados.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Showboys’ own story should surprise nobody familiar with the vagaries of the music industry; they never got to profit much off their song’s popularity down South in either money or renown. The audience watching Freedia at the 2014 Voodoo, which is mostly a popular rock and EDM festival and not particularly aimed at locals, wasn’t really one to get its mind blown open by the surprise showing. All of that is meant to say: Freedia used one of her moments in an increasingly bright spotlight to put the shine, instead, on the unsung history that came before.\u003c/p>\n\u003cp>It was a statement about visibility, which is key to Freedia’s mission and influence as an artist — the right to be seen. Big Freedia has always repped New Orleans, the creatively exceptional city that has always resolutely (and, uh, literally) marched to the beat of its own drummer, and the music and culture-makers that make it swing, even deep under the radar. She’s become famous doing it – way more so than any other practitioner of bounce, which for decades was a hyper-regional, street-level sound. In doing so, importantly, she’s amplified New Orleans history (and in an increasingly global pop world, really, the whole \u003cem>idea\u003c/em> of retaining fealty to deep-rooted local identity) to new audiences. And she’s done it by insisting on being her \u003cem>sui generis \u003c/em>self, a gay black man with a feminine stage name and fluid pronouns. You too, Freedia seems to say, should be proud of where you came from and be nothing less than who you are.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Freedia started out as a backup dancer for her friend Katey Red, a transgender bounce rapper who dropped her first album in 1999, she hit with real force just after Hurricane Katrina. In the wake of the floods, there was tremendous support for music from New Orleans nationally, and both emotional and pragmatic reasons to travel with it for artists: People in exile wanted to hear the sound of home, and with fewer stages in the city, the artists (who were sometimes unstable in their living situations in New Orleans themselves) needed to travel to work. Freedia built a name exponentially, performing a punishing regular schedule in New Orleans and Houston and soon, beyond. She also expanded her reach outside of the traditional Southern hip-hop scene after hooking up with Rusty Lazer, a DJ and drummer for a freaky-jazz cabaret group. On the road with him, Freedia crashed on couches and got introduced to a queer-friendly punk scene that loved to dance. (Fans of Peaches liking Big Freedia — who would have guessed?) Diplo got involved, and so did RuPaul, but the core essence of the sound stayed true: rattling beats and big, joyous, call-and-response shouts.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Big Freedia, Diplo, DJ Snake - Drop (Official video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bHNiNP3hDkU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With the same force Freedia uses to command crowds to shake, twerk, wobble and exercise, if you ask the rapper what pronouns are preferred, she’ll tell you to pick. (I am using “she/her” here because those are the ones with which Freedia was introduced to me, somewhere around early 2008.) This fluidity sometimes seems less about Freedia’s own identity – she usually refers to herself as a gay man, when pressed – than a comment on what such labels mean, and whose problem they are. (If you require one, then it’s yours.)\u003c/p>\n\u003cp>That flexibility, too, has precedent in New Orleans, the city that builds its calendar around a lengthy holiday celebrating, in part, the whole idea of being more truly yourself by casting off boring strictures of dress and identity. Big Freedia fits into a grand lineage of black New Orleans performers who made gender identity fall in line behind who they were as artists and as people; for instance, Bobby Marchan, a gay man from Youngstown, Ohio, who arrived in the city with a female impersonators’ troupe called the Powder Box Revue in the late 1940s and made a splash at the New Orleans nitery the Dew Drop Inn.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A restaurant, barbershop, and, crucially during the years of Jim Crow, a hotel where marquee black entertainers including Ray Charles and Duke Ellington stayed, the Dew Drop was more than just a stage. As the late Charles Neville put it in authors Jason Berry and Tad Jones’s sweeping postwar New Orleans music history \u003cem>Up From the Cradle of Jazz\u003c/em>, it was a clubhouse where you could find local music royalty at any hour of the day or night – and more than that, it was a place to nourish the spirit in a world that, for black artists, was fraught with danger for black artists plying their trade on the road.\u003c/p>\n\u003cp>“Okay, here’s what we wanted to do,” Neville told the writers. “Play music and pit ourselves against all of that. With little places like the Dew Drop, these oases where we could regroup and recover made the music that happened there kind of special. There were things projected into the music there that was not there on the road. There was that sense of security about being there, and that sense of belonging with the strangers who were there, but who were not, in fact, strangers, because they were members of this same order.”\u003c/p>\n\u003cp>The star of the Dew Drop, where Bobby Marchan became a regular patron and performer, was Irving Ale, who performed and presided over the entertainment as mistress of ceremonies Patsy Vidalia. Other out gay artists, like the wild pianists Esquerita and James Booker, were fixtures too, but Marchan is especially notable because of where his long career wound up. After a stint as a soul singer with a few solid hits, Bobby Marchan – who presented on and off as masculine or feminine as it pleased him over the years and liked to use the catchphrase “I’m not a woman, I’m not a man, I’m Bobby Marchan!” – settled into a second (third?) act. From the dawn of rap in New Orleans until his death, he was the godfather of New Orleans hip-hop, managing, advising and promoting artists including Mystikal and the Hot Boys. Cash Money Records footed the bill for his 1999 funeral.\u003c/p>\n\u003cp>All that considered, Freedia didn’t grow up as an artist in a community that necessarily accepted gay or gender-nonconforming artists across the board. There were still doors that were closed to Freedia – or only cracked open a little bit – in the local hip-hop scene for months and years after they would have swung wide open for straight-presenting men or women. But success bred success (an early indicator being, perhaps, \u003ca href=\"https://www.npr.org/artists/17682423/lil-wayne\">Lil Wayne\u003c/a> quoting Freedia’s signature early banger “Gin In My System” on a mixtape track) and soon, if counter-intuitively, national write-ups and awards begat total public local embrace. In turn, importantly, that led to greater visibility for younger gay artists on the grassroots New Orleans scene, including the late shooting star Nicky da B – who, like Freedia, was slowly and judiciously bringing dance influences from the wider world into the studio to meet what New Orleanians call That (Dat) Beat. After and because of Freedia, it’s less a city that lets everyone have their own room; it’s a city where everyone is in every room.\u003c/p>\n\u003cp>It would be reductive to say that bounce was a hothouse regional ’90s style that Freedia shot new life into, or helped to “cross over,” although both ideas have some truth to them. Could any other artist have done it? Years before \u003ca href=\"https://www.npr.org/artists/250250872/drake\">Drake \u003c/a>worked with Freedia and her longtime producer BlaqNMild on the hit “Nice for What,” or \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé \u003c/a>hired her to lend that unmistakable bellow to “Formation,” top-selling artists were borrowing the sound – Bey on “Get Me Bodied,” for example, or T.I. collaborating with Lil Wayne on “Ball,” with its musical tip of the hat to the Triggerman bells and a video shot in the streets of Hollygrove, a stylistic throwback to the ’90s glory days of Cash Money videos. The imprimatur of the big guns takes Freedia, and her steadfast New Orleans identity, even more global, linking her to the biggest names in popular music (Freedia, in a “Formation”-referencing wide-brimmed black hat, introduced the Queen B herself onstage at the Superdome at the end of 2016; Lil Wayne invited her into his pantheon of guests and acknowledged influences at multiple Lil Weezyana Fests.) And she gives back, too: Any international star gets deep, regional, block-level terroir from Freedia, a singular factor. How could you see someone who loves and trusts herself so much and \u003cem>not\u003c/em> follow them to the dance floor?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An oasis is by definition rare; it wouldn’t be so refreshing if the land surrounding it weren’t so barren. It’d be nice to think that the world out there is safer than when Charles Neville identified the Dew Drop as one, a place where you could finally relax enough to make your art, be yourself, shake it off. Either way, in solid New Orleans tradition, every Big Freedia show is a mobile oasis — pushing back the desert beat by beat.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Big+Freedia+Is+The+21st+Century%27s+Ambassador+Of+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mozzy On 'Gangland Landlord,' Kendrick and How a Persistent Grind Pays Off",
"headTitle": "Mozzy On ‘Gangland Landlord,’ Kendrick and How a Persistent Grind Pays Off | KQED",
"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\">S\u003c/span>ix years ago, Mozzy thought his rap career was almost over.\u003c/p>\n\u003cp>The artist was 25 and had already served several stints behind bars on drug and weapons charges. His first child was on the way, and his mixtapes and music videos depicting Sacramento’s hardscrabble gang lifestyle hadn’t attracted much of an audience outside of his Oak Park neighborhood.\u003c/p>\n\u003cp>Flash forward to February 2018, when Kendrick Lamar accepted his Grammy for Best Rap Album. The first words out of his mouth to 19.8 million viewers at home and an auditorium of celebrities? “This is special, man. Like my guy Mozzy say, ‘God up top all the time,’ real talk.”\u003c/p>\n\u003cp>Upon hearing the unexpected Grammys shout out, West Coast rap fans exploded with excitement on \u003ca href=\"https://twitter.com/search?q=kendrick%20mozzy%20grammy%27s&src=typd\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> and national publications \u003ca href=\"http://www.vulture.com/2018/02/a-guide-to-mozzy-the-sacramento-rapper-kendrick-lamar-loves.html\" target=\"_blank\" rel=\"noopener\">clued readers in\u003c/a> to the identity of the little-known artist who just received Lamar’s ultimate cosign.\u003c/p>\n\u003cp>Things only sped up from there. Less than a week after the Grammys, Ryan Coogler’s record-shattering \u003cem>Black Panther\u003c/em> came out in theaters. During the last scene, when T’Challa and Shuri visit the Oakland park that once contained a milk-crate basketball hoop, millions of viewers in sold-out theaters across the country heard Mozzy’s song “Sleep Walkin'” from his 2017 album \u003cem>1 Up Top Ahk\u003c/em>. Mozzy’s was the voice that symbolized that moment of returning to one’s roots to take care of those who are still struggling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/cAgRk2rBhlg\u003c/p>\n\u003cp>“I felt like, ‘Mama, we made it.’ After all the work we put in underground, they started to pay attention and recognize us on a national level,” says the 31-year-old Mozzy in a recent phone interview. “This is what we were shootin’ for. If I was to stop right now, I lived a dream.”\u003c/p>\n\u003cp>Mozzy’s autobiographical new album, \u003ca href=\"https://itunes.apple.com/us/album/gangland-landlord/1438263477?app=itunes&ign-mpt=uo%3D4\" target=\"_blank\" rel=\"noopener\">\u003cem>Gangland Landlord\u003c/em>\u003c/a>, released Oct. 5 on San Francisco distribution label Empire, is his first offering with the national spotlight on him. And although he recorded it knowing the industry was watching, the project comes across as an un-self-conscious, genuine self-portrait.\u003c/p>\n\u003cp>\u003cem>Gangland Landlord\u003c/em> weighs heavy with traumatic memories, with tense violins, pensive piano and ominous church bells underscoring narratives of Mozzy clawing himself out of poverty. It’s Mozzy’s most cleanly executed release since \u003cem>Bladadah\u003c/em>, the 2015 album that expanded his reach beyond Sacramento and made him a star of Northern California’s underground scene.\u003c/p>\n\u003cp>“The big dog, I’m the fella-fella,” says Mozzy, explaining that the album’s title is a reflection of his new stature. “I’m the one the people come to. I’m the people’s champ.”\u003c/p>\n\u003cfigure id=\"attachment_13842714\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13842714 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘Gangland Landlord.’\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>t’s easy to call oneself a people’s champ; acting on it is the hard part. Amid a whirlwind press tour, Mozzy recently made time to go back to Sacramento (he currently lives in Los Angeles). He threw a charity event at a local park where he gave away backpacks, school supplies, haircut vouchers and $7,000 in cash to his old neighbors and friends.\u003c/p>\n\u003cp>“Provide for your people—I’m just looking out for mine,” says Mozzy, whose real name is Tim Patterson. “I’m the ‘landlord’ of this region, so I’m responsible. I don’t want no cookie, I don’t want no applause from nobody. No matter what I’m doing in life, if I have the means to look out for ’em, that’s what I’ma do, because these are the same people who was rooting for me when it was ugly, when it was spunky, when I only had seven listeners and 10 views on YouTube.”\u003c/p>\n\u003cp>Mozzy’s rise to the national stage is particularly remarkable because his subject matter, even on an album he knew would reach beyond his regional audience, is decidedly niche. He raps devotedly—militantly—about a gang lifestyle that’s far removed from anything Middle America could relate to, in a notorious neighborhood in a city whose culture is little-known to outsiders.\u003c/p>\n\u003cp>There’s no sugarcoating or sanitizing on \u003cem>Gangland Landlord\u003c/em>, either. Unlike Migos or Future, who depict shoot-outs in trap houses as minor detours on the way to innumerable rap-money riches, Mozzy is deeply reflective about his street activities and time behind bars, and how both of those things have affected his mental health and development as a man.\u003c/p>\n\u003cp>“Smile now, cry later when I’m by myself / More chains for the gang than I buy myself / Misled by the blind, tryna find myself,” he raps in a gravelly voice over low piano notes and a bass-heavy knock on “Not Impressive.” Later in the verse, he breaks from his growly cadence, trailing off into a whisper with the last word of every bar, betraying the pain behind his tough exterior.\u003c/p>\n\u003cp>https://youtu.be/KOVLJdPRlZE\u003c/p>\n\u003cp>Mozzy is a keen storyteller whose snapshots of life in inner-city America are as brutally realistic as they are vulnerable. “Perhaps his core talent is to convey violence in a way that feels honest, which makes his competition seem mediated, dishonest, even exploitative,” wrote \u003ca href=\"https://www.rollingstone.com/music/music-lists/40-best-rap-albums-of-2015-40015/mozzy-bladadah-26234/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>‘s David Drake when the magazine named Mozzy’s \u003cem>Bladadah\u003c/em> the 22nd best rap album of 2015.\u003c/p>\n\u003cp>“Mozzy’s music slaps, but the gruff lyricist is a bard,” asserted \u003cem>The Atlantic\u003c/em>‘s Hannah Giorgis in her \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mozzy-sacramento-gangland-landlord-rap-album/572281/\" target=\"_blank\" rel=\"noopener\">recent profile\u003c/a> of the rapper.\u003c/p>\n\u003cp>“I ain’t afraid to cry in my music,” Mozzy tells me. “I ain’t afraid to cry out for help. I ain’t afraid to let you know I don’t know, I don’t got all the answers. I ain’t afraid to let you know my faults, to let you know I was hurt, I was broke, I was starving.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile Bay Area rappers often complain that national labels and publications pass over them in favor of championing artists from Los Angeles, getting national recognition is even more of an uphill battle for a rapper from Sacramento, a city whose culture rarely makes a blip on the national radar beyond movies like \u003cem>Lady Bird\u003c/em>, which depicts a much whiter, safer version of the city Mozzy raps about.\u003c/p>\n\u003cp>When I ask how it feels to represent Sacramento and Oak Park on the national stage, Mozzy replies with a long, resounding, “HAAAAAAAAANH!”\u003c/p>\n\u003cp>“For sure we the underdogs, but I ain’t gon’ lie, we movin’ mountains right now,” he says.\u003c/p>\n\u003cp>Mozzy was raised in Oak Park by his grandmother, a former Black Panther, practicing Muslim and strict disciplinarian. His father was often in and out of jail, his mother struggled with addiction and many of his aunts and uncles were affiliated with the Bloods. Outside of the confines of his grandmother’s orderly home, Mozzy began getting in trouble at an early age and was selling drugs and breaking into houses by the time he was in middle school.\u003c/p>\n\u003cp>“I was raised in a respectful manner. There were other households that were less fortunate,” he reflects. “But the streets shaped me a lot. I was stuck in the streets for a long time. It got a lot to do with my character: I’d say the aggressive push, the way I bite down with my music.”\u003c/p>\n\u003cfigure id=\"attachment_13842297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around the same time, Mozzy realized he wanted to be a rapper like his uncle, GP the Beast, who recorded Mozzy for the first time when he was just 11 and going by Lil Tim. In the years that followed, rapping and making quick money in the streets began to consume Mozzy. He ended up dropping out of high school to pursue music, but music only overtook his street activities much later, when his star began to rise after \u003cem>Bladadah\u003c/em>.\u003c/p>\n\u003cp>“In 2015, fresh out of jail, that’s when people started offering me thousands for projects. That’s when I knew—ain’t never made this type of money,” he says, still in disbelief. “First time I touched $50,000, legitimately—I could ride around with this 50 and the police can’t take it from me because I have proof of where I got it from—that’s when I was like, it’s real. When I gave my grandmother $100,000, that’s when I was like, ‘Yeah, this is what we doin’, f-ck all that other sh-t.'”\u003c/p>\n\u003cp>Between 2005 and 2008, Mozzy went to Sacramento County Jail on a variety of charges, including evading police and possessing marijuana with intent to sell. The repercussions of those convictions from his late teens and early ’20s follow him to this day. He was barred from owning a gun as a convicted felon, but, as he explains it, life in Oak Park required the protection of a weapon. In 2014, he served a year in San Quentin State Prison on firearms charges. (Mozzy says that, nowadays, his prior convictions still sometimes affect his ability to perform abroad.)\u003c/p>\n\u003cp>Mozzy’s stint at San Quentin was a wake-up call. “My dad was in jail when I was my daughter’s age,” he says, referring to his eldest, Ariana-Dooterz, who is now five. “We was in the same prison, though. So you know, I’m walking the same yard he was walking, history repeating itself. I couldn’t wait to get out so I could bite down, so I could get it together, so I could be a man. I had responsibilities and I didn’t want to put that burden on my family.”\u003c/p>\n\u003cp>Around the same time, Mozzy’s music started gaining traction outside of Sacramento. In 2013, he recorded a \u003cem>Tonite Show\u003c/em> album with Oakland’s DJ Fresh, the producer responsible for hyphy-era regional hits like D-Lo’s “No Hoe” and Mistah F.A.B.’s “We Go Stupid in the Bay.” Oakland’s Philthy Rich tapped Mozzy for the downcast, piano-heavy “\u003ca href=\"https://www.youtube.com/watch?v=7kBMDZGnhQs\" target=\"_blank\" rel=\"noopener\">I’m Just Being Honest\u003c/a>“; Joe Blow, another Oakland rapper with local clout, invited him to feature on the nostalgically soulful “\u003ca href=\"https://www.youtube.com/watch?v=7iC65U0DK9Q\" target=\"_blank\" rel=\"noopener\">Locked In\u003c/a>.” Mozzy’s name began to circulate in Bay Area rap circles, and in 2015, he cemented himself into the local scene with \u003cem>Down to the Wire: 4th Ave Edition \u003c/em>on J. Stalin’s Livewire Records, a household name for anyone who followed the Oakland street rap scene of the 2000s.\u003c/p>\n\u003cp>“It just took off from me from right there. The whole Bay started f-ckin’ with me,” he says. “They embraced me.”\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\">A\u003c/span>s Mozzy’s reputation as a searingly honest wordsmith grew, he remained on probation through 2017 and was barred from leaving the state of California without permission from his officer. This posed an inconvenience to his career: his 2016 and 2017 albums \u003cem>Mandatory Check\u003c/em> and \u003cem>1 Up Top Ahk\u003c/em> reached No. 11 and No. 36 on Billboard’s top R&B/hip-hop albums chart, and he began getting requests to perform out of state. Fortunately, his probation officer usually obliged.\u003c/p>\n\u003cfigure id=\"attachment_13842718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg\" alt=\"Cover art for Mozzy's '1 Up Top Ahk.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘1 Up Top Ahk.’\u003c/figcaption>\u003c/figure>\n\u003cp>Without these hindrances, Mozzy might be farther along in his career. But he still doesn’t regret his past. “It do put a damper on some things, it threw a lot of things off,” he says. “But I don’t regret nothing. If I hadn’t went through the beautiful struggles I went through, I think it would have minimized my hunger.”\u003c/p>\n\u003cp>Though his criminal past is key to understanding him as a person and artist, \u003ca href=\"https://www.newsreview.com/sacramento/sacramento-gangster-rapper-mozzy-is/content?oid=20363358\" target=\"_blank\" rel=\"noopener\">early stories\u003c/a> about Mozzy sometimes read more like crime reports than profiles of an exciting new artist. And indeed, if Mozzy’s career continues to progress the way it has the past three years, he’s about to be scrutinized by a lot more label heads, journalists, streaming service execs and listeners who may harbor stereotypes and misconceptions about his background or previous way of life.\u003c/p>\n\u003cfigure id=\"attachment_13842296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mozzy says he’d sooner fall off than censor himself. “I ain’t in it for the money,” he says, defiant. “If I decline financially, it wouldn’t hurt me as much as changing and tweaking my music for someone else. That would do more damage to my inner self than financial problems.”\u003c/p>\n\u003cp>Mozzy is living a new lifestyle now, far away from the trenches he raps about. He’s a family man with a girlfriend and two daughters (seven-month-old Zayda was born earlier this year). They’re living in L.A. in a safe neighborhood, in a building with an elevator, far away from the dangers of Oak Park. “I gotta make sure they don’t go through the same beautiful struggles I went through,” Mozzy says, adding that his daughters are his biggest motivation. “I want them to be 10 times doper than me. No matter what career choice, no matter what they’re doing in life, I want to provide them with that head start and that healthy household with a mother and father present, unlike the majority of our community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s no room for f-ckin’ up.”\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\">S\u003c/span>ix years ago, Mozzy thought his rap career was almost over.\u003c/p>\n\u003cp>The artist was 25 and had already served several stints behind bars on drug and weapons charges. His first child was on the way, and his mixtapes and music videos depicting Sacramento’s hardscrabble gang lifestyle hadn’t attracted much of an audience outside of his Oak Park neighborhood.\u003c/p>\n\u003cp>Flash forward to February 2018, when Kendrick Lamar accepted his Grammy for Best Rap Album. The first words out of his mouth to 19.8 million viewers at home and an auditorium of celebrities? “This is special, man. Like my guy Mozzy say, ‘God up top all the time,’ real talk.”\u003c/p>\n\u003cp>Upon hearing the unexpected Grammys shout out, West Coast rap fans exploded with excitement on \u003ca href=\"https://twitter.com/search?q=kendrick%20mozzy%20grammy%27s&src=typd\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> and national publications \u003ca href=\"http://www.vulture.com/2018/02/a-guide-to-mozzy-the-sacramento-rapper-kendrick-lamar-loves.html\" target=\"_blank\" rel=\"noopener\">clued readers in\u003c/a> to the identity of the little-known artist who just received Lamar’s ultimate cosign.\u003c/p>\n\u003cp>Things only sped up from there. Less than a week after the Grammys, Ryan Coogler’s record-shattering \u003cem>Black Panther\u003c/em> came out in theaters. During the last scene, when T’Challa and Shuri visit the Oakland park that once contained a milk-crate basketball hoop, millions of viewers in sold-out theaters across the country heard Mozzy’s song “Sleep Walkin'” from his 2017 album \u003cem>1 Up Top Ahk\u003c/em>. Mozzy’s was the voice that symbolized that moment of returning to one’s roots to take care of those who are still struggling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cAgRk2rBhlg'\n title='//www.youtube.com/embed/cAgRk2rBhlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I felt like, ‘Mama, we made it.’ After all the work we put in underground, they started to pay attention and recognize us on a national level,” says the 31-year-old Mozzy in a recent phone interview. “This is what we were shootin’ for. If I was to stop right now, I lived a dream.”\u003c/p>\n\u003cp>Mozzy’s autobiographical new album, \u003ca href=\"https://itunes.apple.com/us/album/gangland-landlord/1438263477?app=itunes&ign-mpt=uo%3D4\" target=\"_blank\" rel=\"noopener\">\u003cem>Gangland Landlord\u003c/em>\u003c/a>, released Oct. 5 on San Francisco distribution label Empire, is his first offering with the national spotlight on him. And although he recorded it knowing the industry was watching, the project comes across as an un-self-conscious, genuine self-portrait.\u003c/p>\n\u003cp>\u003cem>Gangland Landlord\u003c/em> weighs heavy with traumatic memories, with tense violins, pensive piano and ominous church bells underscoring narratives of Mozzy clawing himself out of poverty. It’s Mozzy’s most cleanly executed release since \u003cem>Bladadah\u003c/em>, the 2015 album that expanded his reach beyond Sacramento and made him a star of Northern California’s underground scene.\u003c/p>\n\u003cp>“The big dog, I’m the fella-fella,” says Mozzy, explaining that the album’s title is a reflection of his new stature. “I’m the one the people come to. I’m the people’s champ.”\u003c/p>\n\u003cfigure id=\"attachment_13842714\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13842714 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mozzy-gangland-landlord-stream-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘Gangland Landlord.’\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>t’s easy to call oneself a people’s champ; acting on it is the hard part. Amid a whirlwind press tour, Mozzy recently made time to go back to Sacramento (he currently lives in Los Angeles). He threw a charity event at a local park where he gave away backpacks, school supplies, haircut vouchers and $7,000 in cash to his old neighbors and friends.\u003c/p>\n\u003cp>“Provide for your people—I’m just looking out for mine,” says Mozzy, whose real name is Tim Patterson. “I’m the ‘landlord’ of this region, so I’m responsible. I don’t want no cookie, I don’t want no applause from nobody. No matter what I’m doing in life, if I have the means to look out for ’em, that’s what I’ma do, because these are the same people who was rooting for me when it was ugly, when it was spunky, when I only had seven listeners and 10 views on YouTube.”\u003c/p>\n\u003cp>Mozzy’s rise to the national stage is particularly remarkable because his subject matter, even on an album he knew would reach beyond his regional audience, is decidedly niche. He raps devotedly—militantly—about a gang lifestyle that’s far removed from anything Middle America could relate to, in a notorious neighborhood in a city whose culture is little-known to outsiders.\u003c/p>\n\u003cp>There’s no sugarcoating or sanitizing on \u003cem>Gangland Landlord\u003c/em>, either. Unlike Migos or Future, who depict shoot-outs in trap houses as minor detours on the way to innumerable rap-money riches, Mozzy is deeply reflective about his street activities and time behind bars, and how both of those things have affected his mental health and development as a man.\u003c/p>\n\u003cp>“Smile now, cry later when I’m by myself / More chains for the gang than I buy myself / Misled by the blind, tryna find myself,” he raps in a gravelly voice over low piano notes and a bass-heavy knock on “Not Impressive.” Later in the verse, he breaks from his growly cadence, trailing off into a whisper with the last word of every bar, betraying the pain behind his tough exterior.\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/KOVLJdPRlZE'\n title='//www.youtube.com/embed/KOVLJdPRlZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mozzy is a keen storyteller whose snapshots of life in inner-city America are as brutally realistic as they are vulnerable. “Perhaps his core talent is to convey violence in a way that feels honest, which makes his competition seem mediated, dishonest, even exploitative,” wrote \u003ca href=\"https://www.rollingstone.com/music/music-lists/40-best-rap-albums-of-2015-40015/mozzy-bladadah-26234/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>‘s David Drake when the magazine named Mozzy’s \u003cem>Bladadah\u003c/em> the 22nd best rap album of 2015.\u003c/p>\n\u003cp>“Mozzy’s music slaps, but the gruff lyricist is a bard,” asserted \u003cem>The Atlantic\u003c/em>‘s Hannah Giorgis in her \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mozzy-sacramento-gangland-landlord-rap-album/572281/\" target=\"_blank\" rel=\"noopener\">recent profile\u003c/a> of the rapper.\u003c/p>\n\u003cp>“I ain’t afraid to cry in my music,” Mozzy tells me. “I ain’t afraid to cry out for help. I ain’t afraid to let you know I don’t know, I don’t got all the answers. I ain’t afraid to let you know my faults, to let you know I was hurt, I was broke, I was starving.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile Bay Area rappers often complain that national labels and publications pass over them in favor of championing artists from Los Angeles, getting national recognition is even more of an uphill battle for a rapper from Sacramento, a city whose culture rarely makes a blip on the national radar beyond movies like \u003cem>Lady Bird\u003c/em>, which depicts a much whiter, safer version of the city Mozzy raps about.\u003c/p>\n\u003cp>When I ask how it feels to represent Sacramento and Oak Park on the national stage, Mozzy replies with a long, resounding, “HAAAAAAAAANH!”\u003c/p>\n\u003cp>“For sure we the underdogs, but I ain’t gon’ lie, we movin’ mountains right now,” he says.\u003c/p>\n\u003cp>Mozzy was raised in Oak Park by his grandmother, a former Black Panther, practicing Muslim and strict disciplinarian. His father was often in and out of jail, his mother struggled with addiction and many of his aunts and uncles were affiliated with the Bloods. Outside of the confines of his grandmother’s orderly home, Mozzy began getting in trouble at an early age and was selling drugs and breaking into houses by the time he was in middle school.\u003c/p>\n\u003cp>“I was raised in a respectful manner. There were other households that were less fortunate,” he reflects. “But the streets shaped me a lot. I was stuck in the streets for a long time. It got a lot to do with my character: I’d say the aggressive push, the way I bite down with my music.”\u003c/p>\n\u003cfigure id=\"attachment_13842297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842297\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0741-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Around the same time, Mozzy realized he wanted to be a rapper like his uncle, GP the Beast, who recorded Mozzy for the first time when he was just 11 and going by Lil Tim. In the years that followed, rapping and making quick money in the streets began to consume Mozzy. He ended up dropping out of high school to pursue music, but music only overtook his street activities much later, when his star began to rise after \u003cem>Bladadah\u003c/em>.\u003c/p>\n\u003cp>“In 2015, fresh out of jail, that’s when people started offering me thousands for projects. That’s when I knew—ain’t never made this type of money,” he says, still in disbelief. “First time I touched $50,000, legitimately—I could ride around with this 50 and the police can’t take it from me because I have proof of where I got it from—that’s when I was like, it’s real. When I gave my grandmother $100,000, that’s when I was like, ‘Yeah, this is what we doin’, f-ck all that other sh-t.'”\u003c/p>\n\u003cp>Between 2005 and 2008, Mozzy went to Sacramento County Jail on a variety of charges, including evading police and possessing marijuana with intent to sell. The repercussions of those convictions from his late teens and early ’20s follow him to this day. He was barred from owning a gun as a convicted felon, but, as he explains it, life in Oak Park required the protection of a weapon. In 2014, he served a year in San Quentin State Prison on firearms charges. (Mozzy says that, nowadays, his prior convictions still sometimes affect his ability to perform abroad.)\u003c/p>\n\u003cp>Mozzy’s stint at San Quentin was a wake-up call. “My dad was in jail when I was my daughter’s age,” he says, referring to his eldest, Ariana-Dooterz, who is now five. “We was in the same prison, though. So you know, I’m walking the same yard he was walking, history repeating itself. I couldn’t wait to get out so I could bite down, so I could get it together, so I could be a man. I had responsibilities and I didn’t want to put that burden on my family.”\u003c/p>\n\u003cp>Around the same time, Mozzy’s music started gaining traction outside of Sacramento. In 2013, he recorded a \u003cem>Tonite Show\u003c/em> album with Oakland’s DJ Fresh, the producer responsible for hyphy-era regional hits like D-Lo’s “No Hoe” and Mistah F.A.B.’s “We Go Stupid in the Bay.” Oakland’s Philthy Rich tapped Mozzy for the downcast, piano-heavy “\u003ca href=\"https://www.youtube.com/watch?v=7kBMDZGnhQs\" target=\"_blank\" rel=\"noopener\">I’m Just Being Honest\u003c/a>“; Joe Blow, another Oakland rapper with local clout, invited him to feature on the nostalgically soulful “\u003ca href=\"https://www.youtube.com/watch?v=7iC65U0DK9Q\" target=\"_blank\" rel=\"noopener\">Locked In\u003c/a>.” Mozzy’s name began to circulate in Bay Area rap circles, and in 2015, he cemented himself into the local scene with \u003cem>Down to the Wire: 4th Ave Edition \u003c/em>on J. Stalin’s Livewire Records, a household name for anyone who followed the Oakland street rap scene of the 2000s.\u003c/p>\n\u003cp>“It just took off from me from right there. The whole Bay started f-ckin’ with me,” he says. “They embraced me.”\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\">A\u003c/span>s Mozzy’s reputation as a searingly honest wordsmith grew, he remained on probation through 2017 and was barred from leaving the state of California without permission from his officer. This posed an inconvenience to his career: his 2016 and 2017 albums \u003cem>Mandatory Check\u003c/em> and \u003cem>1 Up Top Ahk\u003c/em> reached No. 11 and No. 36 on Billboard’s top R&B/hip-hop albums chart, and he began getting requests to perform out of state. Fortunately, his probation officer usually obliged.\u003c/p>\n\u003cfigure id=\"attachment_13842718\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg\" alt=\"Cover art for Mozzy's '1 Up Top Ahk.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/1-up-top-ahk.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Mozzy’s ‘1 Up Top Ahk.’\u003c/figcaption>\u003c/figure>\n\u003cp>Without these hindrances, Mozzy might be farther along in his career. But he still doesn’t regret his past. “It do put a damper on some things, it threw a lot of things off,” he says. “But I don’t regret nothing. If I hadn’t went through the beautiful struggles I went through, I think it would have minimized my hunger.”\u003c/p>\n\u003cp>Though his criminal past is key to understanding him as a person and artist, \u003ca href=\"https://www.newsreview.com/sacramento/sacramento-gangster-rapper-mozzy-is/content?oid=20363358\" target=\"_blank\" rel=\"noopener\">early stories\u003c/a> about Mozzy sometimes read more like crime reports than profiles of an exciting new artist. And indeed, if Mozzy’s career continues to progress the way it has the past three years, he’s about to be scrutinized by a lot more label heads, journalists, streaming service execs and listeners who may harbor stereotypes and misconceptions about his background or previous way of life.\u003c/p>\n\u003cfigure id=\"attachment_13842296\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0740-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mozzy says he’d sooner fall off than censor himself. “I ain’t in it for the money,” he says, defiant. “If I decline financially, it wouldn’t hurt me as much as changing and tweaking my music for someone else. That would do more damage to my inner self than financial problems.”\u003c/p>\n\u003cp>Mozzy is living a new lifestyle now, far away from the trenches he raps about. He’s a family man with a girlfriend and two daughters (seven-month-old Zayda was born earlier this year). They’re living in L.A. in a safe neighborhood, in a building with an elevator, far away from the dangers of Oak Park. “I gotta make sure they don’t go through the same beautiful struggles I went through,” Mozzy says, adding that his daughters are his biggest motivation. “I want them to be 10 times doper than me. No matter what career choice, no matter what they’re doing in life, I want to provide them with that head start and that healthy household with a mother and father present, unlike the majority of our community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s no room for f-ckin’ up.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hip-Hop Photographer B+ Shot Just About Anyone That Mattered",
"headTitle": "Hip-Hop Photographer B+ Shot Just About Anyone That Mattered | KQED",
"content": "\u003cp>It only took three years for Brian Cross to make his mark in America. After moving from Ireland in 1990, the naturally curious Cross researched, wrote, photographed and published \u003cem>\u003ca href=\"https://www.amazon.com/dp/0860916200/ref=as_at?creativeASIN=0860916200&linkCode=w61&imprToken=onNOTRHCHY5aPNTdkVo2LQ&slotNum=1&tag=thneyo0f-20\" rel=\"noopener noreferrer\" target=\"_blank\">It’s Not About a Salary\u003c/a>\u003c/em>, a definitive analysis of Los Angeles’ then-exploding hip-hop scene. Like many of the people in his book—Gil-Scott Heron, Ice Cube, DJ Quik—he could have gone in any direction with his talents. Lucky for the world, he chose to go with his camera.\u003c/p>\n\u003cp>Twenty-five years later, Cross has photographed just about anyone in rap music that matters. Notorious B.I.G. Outkast. Kendrick Lamar. Lauryn Hill, the Roots, MF Doom, Snoop Dogg, Eminem, J. Dilla, Goodie Mob, Ol’ Dirty Bastard, and OKAY HOLD UP, I have to stop myself or else we’ll be here forever. The point is: Cross has photographed hundreds of rappers, and he’s behind \u003ca href=\"https://noisey.vice.com/en_us/article/bjybaw/brian-cross-ghost-notes-interview-photos-rap\" rel=\"noopener noreferrer\" target=\"_blank\">many of the definitive photos of each\u003c/a>. (For proof, see his \u003ca href=\"https://www.newyorker.com/culture/photo-booth/the-world-of-music-stardom-through-the-eyes-of-the-photographer-b\" rel=\"noopener noreferrer\" target=\"_blank\">excellent 2017 photo anthology\u003c/a> \u003cem>Ghost Notes: Music of the Unplayed\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13842653\" 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/BrianCross-800x450.jpg\" alt=\"B+'s Bay Area subjects include (L–R) Hieroglyphics; the Coup; the Solesides crew.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B+’s Bay Area subjects include (L–R) Hieroglyphics; the Coup; the Solesides crew. \u003ccite>(Brian Cross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve ever stared into \u003ca href=\"https://d3c1jucybpy4ua.cloudfront.net/data/48816/big_picture/YXjDuGz.jpg?1474288491\" rel=\"noopener noreferrer\" target=\"_blank\">the cover of DJ Shadow’s \u003cem>Endtroducing\u003c/em>\u003c/a> for hours on end, then you’ve already experienced firsthand B+’s special relationship with the Bay Area. This month, a collection of his early 1990s work from the Bay Area shows at Family Affair gallery on Haight Street: indelible photos of E-40, Blackalicious, Hieroglyphics, Living Legends, the Coup, Too Short, Spice 1, the Invisibl Skratch Piklz, Saafir and many more.\u003c/p>\n\u003cp>Expect to see a wide array of hip-hop artists you’ve been listening to for decades, in very young versions of themselves, who’ve made the Bay Area what it is today. \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\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freaks of the Industry: Bay Area Hip-Hop Shot by B+’ runs Oct. 18–Nov. 17 at Family Affair gallery in San Francisco. Opening reception with B+ takes place Oct. 18 at 7pm. \u003ca href=\"https://www.facebook.com/FamilyAffairHQ\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It only took three years for Brian Cross to make his mark in America. After moving from Ireland in 1990, the naturally curious Cross researched, wrote, photographed and published \u003cem>\u003ca href=\"https://www.amazon.com/dp/0860916200/ref=as_at?creativeASIN=0860916200&linkCode=w61&imprToken=onNOTRHCHY5aPNTdkVo2LQ&slotNum=1&tag=thneyo0f-20\" rel=\"noopener noreferrer\" target=\"_blank\">It’s Not About a Salary\u003c/a>\u003c/em>, a definitive analysis of Los Angeles’ then-exploding hip-hop scene. Like many of the people in his book—Gil-Scott Heron, Ice Cube, DJ Quik—he could have gone in any direction with his talents. Lucky for the world, he chose to go with his camera.\u003c/p>\n\u003cp>Twenty-five years later, Cross has photographed just about anyone in rap music that matters. Notorious B.I.G. Outkast. Kendrick Lamar. Lauryn Hill, the Roots, MF Doom, Snoop Dogg, Eminem, J. Dilla, Goodie Mob, Ol’ Dirty Bastard, and OKAY HOLD UP, I have to stop myself or else we’ll be here forever. The point is: Cross has photographed hundreds of rappers, and he’s behind \u003ca href=\"https://noisey.vice.com/en_us/article/bjybaw/brian-cross-ghost-notes-interview-photos-rap\" rel=\"noopener noreferrer\" target=\"_blank\">many of the definitive photos of each\u003c/a>. (For proof, see his \u003ca href=\"https://www.newyorker.com/culture/photo-booth/the-world-of-music-stardom-through-the-eyes-of-the-photographer-b\" rel=\"noopener noreferrer\" target=\"_blank\">excellent 2017 photo anthology\u003c/a> \u003cem>Ghost Notes: Music of the Unplayed\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13842653\" 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/BrianCross-800x450.jpg\" alt=\"B+'s Bay Area subjects include (L–R) Hieroglyphics; the Coup; the Solesides crew.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/BrianCross-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">B+’s Bay Area subjects include (L–R) Hieroglyphics; the Coup; the Solesides crew. \u003ccite>(Brian Cross)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve ever stared into \u003ca href=\"https://d3c1jucybpy4ua.cloudfront.net/data/48816/big_picture/YXjDuGz.jpg?1474288491\" rel=\"noopener noreferrer\" target=\"_blank\">the cover of DJ Shadow’s \u003cem>Endtroducing\u003c/em>\u003c/a> for hours on end, then you’ve already experienced firsthand B+’s special relationship with the Bay Area. This month, a collection of his early 1990s work from the Bay Area shows at Family Affair gallery on Haight Street: indelible photos of E-40, Blackalicious, Hieroglyphics, Living Legends, the Coup, Too Short, Spice 1, the Invisibl Skratch Piklz, Saafir and many more.\u003c/p>\n\u003cp>Expect to see a wide array of hip-hop artists you’ve been listening to for decades, in very young versions of themselves, who’ve made the Bay Area what it is today. \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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freaks of the Industry: Bay Area Hip-Hop Shot by B+’ runs Oct. 18–Nov. 17 at Family Affair gallery in San Francisco. Opening reception with B+ takes place Oct. 18 at 7pm. \u003ca href=\"https://www.facebook.com/FamilyAffairHQ\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SOB x RBE's 'All Facts' is Disturbingly Casual About Domestic Violence",
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"content": "\u003cp>“Got no sympathy for hoes / I’ll slap a bitch!” rages Slimmy B of SOB x RBE on the song “All Facts Not 1 Opinion” from the Vallejo rap group’s new album, \u003cem>Gangin II\u003c/em>, miming a slapping motion as he says the words in the \u003ca href=\"https://www.youtube.com/watch?v=TnV3N4vBYuI\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a>. [contextly_sidebar id=”jPle1J88AxGljmTqMfqKIqJ6BL1b7Yyi”]\u003c/p>\n\u003cp>SOB x RBE aren’t the only young, rising rap artists making light of violence against women in recent releases. Twenty-two-year-old breakout Atlanta star Playboi Carti also brags, “Got me mad as shit, so I slapped that bitch” on “\u003ca href=\"https://www.youtube.com/watch?v=GRoa6w-wnT4\" target=\"_blank\" rel=\"noopener noreferrer\">R.I.P.\u003c/a>” from his album \u003cem>Die Lit\u003c/em>, which peaked at No. 2 on Billboard’s rap albums chart in May.\u003c/p>\n\u003cp>The dialogue surrounding misogyny and abuse in rap culture—whether in lyrics or real life—has been a constant for decades. But it’s notably regressed since last fall, when the #MeToo movement reached a fever pitch. Yes, some of the main protagonists in that debate, namely 6ix9ine and XXXtentacion, continue to elicit a loud minority of detractors. But 6ix9ine has enjoyed chart success and a \u003ca href=\"https://www.thedailybeast.com/why-is-nicki-minaj-co-signing-convicted-sex-criminal-tekashi-6ix9ine\" target=\"_blank\" rel=\"noopener noreferrer\">high-profile collaboration with Nicki Minaj\u003c/a> despite his guilty plea to using a child in a sex tape. Meanwhile, many fans and artists have re-imagined the late XXXtentacion as a romantic fallen hero while glossing over the\u003ca href=\"https://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener noreferrer\"> allegations\u003c/a> of brutal domestic violence against him.\u003c/p>\n\u003cp>https://youtu.be/RZhcRrurulc\u003c/p>\n\u003cp>“I’ma be sympathetic to a kid who has clearly been through so much f-cked up shit that he inflicted this on someone else,” rapper J. Cole told \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8476757/j-cole-interview-billboard-cover-story\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a> in September. In the same interview, Cole expressed disappointment with his hero, Nas (Nas’ ex, Kelis, recently accused him of domestic violence). But even as some factions of the rap world grapple with talented artists who have appalling accusations against them, we seem to not have a problem with lyrics that reinforce the same behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t to say that domestic violence shouldn’t be categorically exempt as thematic material in rap. There are plenty of songs where it’s treated with nuance, such as when Vic Mensa raps with remorse about choking his girlfriend on the 2016 track, “\u003ca href=\"https://www.youtube.com/watch?v=d4VflaXIJCQ\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Alot Going On\u003c/a>“: “She came out the room swingin’, hit me in the jaw / I was really tryna fend her off / But I ended up in the closet with my hands around her neck / I was trippin’, dawg.” (Mensa recently stoked XXXtentacion fans’ ire with his unreleased freestyle from the BET Hip-Hop Awards, which air on Oct. 16. He says he was calling out a “trend in hip-hop of championing abusers.”)\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1049476232633573376\u003c/p>\n\u003cp>Still, one of the challenges of critically discussing abusive artists is the increasing pushback against the concept of “cancel” culture. “We’re talking less about whether a work is good art but simply whether it’s good—good for us, good for the culture, good for the world,” writes Wesley Morris in a recent \u003ca href=\"https://www.nytimes.com/interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> for \u003cem>The New York Times\u003c/em>. His concern is that morality and so‐called identity politics are overtaking aesthetics as the primary reasons for celebrating popular art. Besides, “cancel” culture doesn’t seem to work in popular music, which is more decentralized and less contained by corporations than the film and television industry.[contextly_sidebar id=”JE0pIQJoiIYdavnXCytg1sp7mSORod5d”]\u003c/p>\n\u003cp>It’s one thing to try and “cancel” artists’ careers over taboo lyrics and real‐life criminal allegations—and indeed, there are some corners of social media that try to do that—and another to insist that artists simply be held to account for their bodies of work. No one claims that ’80s and ’90s rap stars like Beatnuts (where Psycho Les called himself “the crazy rapist” on “\u003ca href=\"https://www.youtube.com/watch?v=SXeypq9dWAA\" target=\"_blank\" rel=\"noopener noreferrer\">Reign of the Tec\u003c/a>“) or Geto Boys (with their notorious rape-and-pillage horrorcore classic, “\u003ca href=\"https://www.youtube.com/watch?v=66Tuirx98Qk\" target=\"_blank\" rel=\"noopener noreferrer\">Assassins\u003c/a>“) should be wiped from history. However, rap audiences’ tastes have evolved considerably over the past 30 years.\u003c/p>\n\u003cp>As Rich Homie Quan and Rick Ross learned when they apologized for their lyrics on the songs “\u003ca href=\"http://theboombox.com/rich-homie-quan-apologizes-for-controversial-rape-lyrics-on-i-made-it/\" target=\"_blank\" rel=\"noopener noreferrer\">I Made It\u003c/a>” and “\u003ca href=\"https://www.spin.com/2013/05/rick-ross-rocko-rape-rap-controversy-uoeno-childish-major/\" target=\"_blank\" rel=\"noopener noreferrer\">UOENO\u003c/a>“—which both coyly described rape scenarios—that type of material is becoming less acceptable, especially in front of mass audiences. Hip-hop loves its outlaws, but outrageously noxious tropes about sexual assault and statutory rape have become taboo. If the culture is to continue to evolve, it’s worth asking why rap songs about beating women still fly under the radar.[contextly_sidebar id=”OKWCdWGTyEhe7zOsFNFPVAQ8MZvjAqZR”]\u003c/p>\n\u003cp>At its best, rap music reflects society as a whole, no matter how beautiful or ugly. But tracks where violence against women is treated like a joke—like Playboi Carti’s “R.I.P.” and SOB x RBE’s “All Facts Not 1 Opinion”—seem beyond the pale now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>People of all genders deserve better from the art form.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Got no sympathy for hoes / I’ll slap a bitch!” rages Slimmy B of SOB x RBE on the song “All Facts Not 1 Opinion” from the Vallejo rap group’s new album, \u003cem>Gangin II\u003c/em>, miming a slapping motion as he says the words in the \u003ca href=\"https://www.youtube.com/watch?v=TnV3N4vBYuI\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>SOB x RBE aren’t the only young, rising rap artists making light of violence against women in recent releases. Twenty-two-year-old breakout Atlanta star Playboi Carti also brags, “Got me mad as shit, so I slapped that bitch” on “\u003ca href=\"https://www.youtube.com/watch?v=GRoa6w-wnT4\" target=\"_blank\" rel=\"noopener noreferrer\">R.I.P.\u003c/a>” from his album \u003cem>Die Lit\u003c/em>, which peaked at No. 2 on Billboard’s rap albums chart in May.\u003c/p>\n\u003cp>The dialogue surrounding misogyny and abuse in rap culture—whether in lyrics or real life—has been a constant for decades. But it’s notably regressed since last fall, when the #MeToo movement reached a fever pitch. Yes, some of the main protagonists in that debate, namely 6ix9ine and XXXtentacion, continue to elicit a loud minority of detractors. But 6ix9ine has enjoyed chart success and a \u003ca href=\"https://www.thedailybeast.com/why-is-nicki-minaj-co-signing-convicted-sex-criminal-tekashi-6ix9ine\" target=\"_blank\" rel=\"noopener noreferrer\">high-profile collaboration with Nicki Minaj\u003c/a> despite his guilty plea to using a child in a sex tape. Meanwhile, many fans and artists have re-imagined the late XXXtentacion as a romantic fallen hero while glossing over the\u003ca href=\"https://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener noreferrer\"> allegations\u003c/a> of brutal domestic violence against him.\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/RZhcRrurulc'\n title='//www.youtube.com/embed/RZhcRrurulc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’ma be sympathetic to a kid who has clearly been through so much f-cked up shit that he inflicted this on someone else,” rapper J. Cole told \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8476757/j-cole-interview-billboard-cover-story\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a> in September. In the same interview, Cole expressed disappointment with his hero, Nas (Nas’ ex, Kelis, recently accused him of domestic violence). But even as some factions of the rap world grapple with talented artists who have appalling accusations against them, we seem to not have a problem with lyrics that reinforce the same behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This isn’t to say that domestic violence shouldn’t be categorically exempt as thematic material in rap. There are plenty of songs where it’s treated with nuance, such as when Vic Mensa raps with remorse about choking his girlfriend on the 2016 track, “\u003ca href=\"https://www.youtube.com/watch?v=d4VflaXIJCQ\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Alot Going On\u003c/a>“: “She came out the room swingin’, hit me in the jaw / I was really tryna fend her off / But I ended up in the closet with my hands around her neck / I was trippin’, dawg.” (Mensa recently stoked XXXtentacion fans’ ire with his unreleased freestyle from the BET Hip-Hop Awards, which air on Oct. 16. He says he was calling out a “trend in hip-hop of championing abusers.”)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Still, one of the challenges of critically discussing abusive artists is the increasing pushback against the concept of “cancel” culture. “We’re talking less about whether a work is good art but simply whether it’s good—good for us, good for the culture, good for the world,” writes Wesley Morris in a recent \u003ca href=\"https://www.nytimes.com/interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> for \u003cem>The New York Times\u003c/em>. His concern is that morality and so‐called identity politics are overtaking aesthetics as the primary reasons for celebrating popular art. Besides, “cancel” culture doesn’t seem to work in popular music, which is more decentralized and less contained by corporations than the film and television industry.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s one thing to try and “cancel” artists’ careers over taboo lyrics and real‐life criminal allegations—and indeed, there are some corners of social media that try to do that—and another to insist that artists simply be held to account for their bodies of work. No one claims that ’80s and ’90s rap stars like Beatnuts (where Psycho Les called himself “the crazy rapist” on “\u003ca href=\"https://www.youtube.com/watch?v=SXeypq9dWAA\" target=\"_blank\" rel=\"noopener noreferrer\">Reign of the Tec\u003c/a>“) or Geto Boys (with their notorious rape-and-pillage horrorcore classic, “\u003ca href=\"https://www.youtube.com/watch?v=66Tuirx98Qk\" target=\"_blank\" rel=\"noopener noreferrer\">Assassins\u003c/a>“) should be wiped from history. However, rap audiences’ tastes have evolved considerably over the past 30 years.\u003c/p>\n\u003cp>As Rich Homie Quan and Rick Ross learned when they apologized for their lyrics on the songs “\u003ca href=\"http://theboombox.com/rich-homie-quan-apologizes-for-controversial-rape-lyrics-on-i-made-it/\" target=\"_blank\" rel=\"noopener noreferrer\">I Made It\u003c/a>” and “\u003ca href=\"https://www.spin.com/2013/05/rick-ross-rocko-rape-rap-controversy-uoeno-childish-major/\" target=\"_blank\" rel=\"noopener noreferrer\">UOENO\u003c/a>“—which both coyly described rape scenarios—that type of material is becoming less acceptable, especially in front of mass audiences. Hip-hop loves its outlaws, but outrageously noxious tropes about sexual assault and statutory rape have become taboo. If the culture is to continue to evolve, it’s worth asking why rap songs about beating women still fly under the radar.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At its best, rap music reflects society as a whole, no matter how beautiful or ugly. But tracks where violence against women is treated like a joke—like Playboi Carti’s “R.I.P.” and SOB x RBE’s “All Facts Not 1 Opinion”—seem beyond the pale now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>People of all genders deserve better from the art form.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars",
"headTitle": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars | KQED",
"content": "\u003cp>On Sept. 15–16 at Oakland’s Coliseum grounds, a poster of P-Lo, the hyphy heartthrob, greeted Rolling Loud’s thousands of attendees as they entered the venue to witness an intergenerational lineup of Bay Area rappers and industry heavyweights like Travis Scott and Pusha T.\u003c/p>\n\u003cp>“The Bay is very important to the history of hip-hop,” Tariq Cherif, co-founder of Rolling Loud, told KQED Arts. “You know, a lot of the modern independent hip-hop scene was built and modeled after what guys in the Bay were doing.”\u003c/p>\n\u003cp>Since its debut in 2015, Rolling Loud has become the world’s largest traveling hip-hop festival, with editions in Miami and Los Angeles. But in 2017, its inaugural Bay Area event at Shoreline Amphitheater didn’t go off without a hitch: beloved Berkeley rapper Lil B was physically assaulted, allegedly by another rapper’s entourage, and some Bay Area rap fans and promoters lambasted the event online as a result.\u003c/p>\n\u003cp>Rolling Loud 2018 in Oakland, however, took a different tone: the two-day festival celebrated and uplifted the Bay Area’s regional sounds, with high-energy performances by over a dozen Northern California artists, including E-40, Kamaiyah, Saweetie, P-Lo, Mozzy and ALLBLACK.\u003c/p>\n\u003cp>[contextly_sidebar id=”dHZsarkx1OlSZd4KoCbxjiyUAUy2DwXc”]\u003c/p>\n\u003cp>The critical mass of Bay Area and Sacramento artists kept the fest from feeling generic and gave it a distinctively local flavor. Without these acts, Rolling Loud Oakland would have blended in with the festival’s other editions, where Travis Scott, Young Thug and Jaden Smith have already performed. The crowd looked familiar, too: neon fanny packs, NBA jerseys and white-girl cornrows resembled Instagram in real life. And as it often happens at music festivals, many non-black concertgoers seemed to feel disconcertingly at ease saying the n-word as they rapped along with their favorite artists.\u003c/p>\n\u003cfigure id=\"attachment_13840951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840951\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0312-800x533.jpg\" alt=\"ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Rolling Loud’s Saturday kick-off, ALLBLACK didn’t let fans forget they were at a show in East Oakland, his home turf. He’s an emerging regional star on his way towards carrying Oakland’s sound beyond the 510. His set narrated his life experiences as a black man growing up in a neighborhood called the Murder Dubs, with an aggressive flow that blends the Town’s earlier music movements of mobb and hyphy into a forceful signature sound.[contextly_sidebar id=”CJzT37B5wN3POJuedBwhEnUML2PNFOi1″]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>P-Lo, fresh off of a national tour with Oakland-born chart-topper G-Eazy, performed an energetic homecoming set. His memorable line from his track “Put Me on Somethin’,” “Last year they ain’t even like the Bay,” served as a reminder of the Bay Area’s fight for recognition in the national music scene. After the hyphy movement, the Bay’s relationship to mainstream hip-hop weakened. But the recent rise of artists like G-Eazy, Kamaiyah and Saweetie, all of whom have major label deals, indicates a shift. Bay Area artists have long fought for a seat at the table, and the numerous local artists at Rolling Loud certainly felt like a step in that direction.\u003c/p>\n\u003cp>When G-Eazy joined P-Lo to perform their collaborative Bay Area anthem, “Power,” P-Lo shouted to the crowd, “You proud to be from the Bay… because I’m reppin proud Bay Area sh-t.” He and his DJ, Cal-A, tore up the crowd like only some boys from the Bay could, gigging in the audience as they closed their set. To the side of the stage, members of HBK Gang and ALLBLACK went dumb in solidarity.\u003c/p>\n\u003cp>Later, Saweetie and Guapdad 4000 performed an unreleased collaboration during the “Icy Girl” rapper’s set; the sense of community among the local artists was palpable. For a weekend, Bay Area rappers set aside differences and performed as a united front as the industry’s underdogs, holding their own among a roster of mainstream artists.\u003c/p>\n\u003cfigure id=\"attachment_13840924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0879-800x533.jpg\" alt=\"Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Rolling Loud featured a notable increase of female rappers, including Kamaiyah, the reigning queen of the Bay Area rap scene.“I f-cking made it in Oakland, we ain’t never seen anything like this before,” she said as she opened her set. She grew up not far from the Coliseum, on 73rd Avenue.\u003c/p>\n\u003cp>Mozzy’s set linked his hometown of Sacramento to the Bay; he brought out “Do Better” rapper Prezi, who reps San Francisco’s Hunters Point. North Oakland’s Mistah F.A.B, a crucial figure in the Bay Area rap scene, came out during Mozzy’s performance to show the crowd how to “Ghost Ride It” with his instructional hyphy-era anthem.\u003c/p>\n\u003cp>“Them Bay Area rappers is legendary to me, I got F.A.B. coming out on my set,” Mozzy told KQED Arts backstage. “Rappers ain’t show nothing but love and I’m appreciative to take the stage after so many that have came before me.”\u003c/p>\n\u003cfigure id=\"attachment_13840899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0296-800x533.jpg\" alt=\"G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40, godfather of Bay Area hip-hop, brought the spirit of the hyphy movement to Rolling Loud with “Tell Me When To Go.” As he spat the famous lines, “Jesus Christ had dreads / So shake ’em,” a new generation of Bay Area rappers, Kamaiyah and Slimmy B of SOB x RBE, watched in awe. When P-Lo and Nef The Pharaoh joined E-40 on stage to play “Bling Blaow” and “Put Me On Somethin’,” the joyful performance resembled a symbolic passing of the torch.[contextly_sidebar id=”Kx4Gqc1kCXqX2BJ2NuTXAqwsgKHdGca1″]\u003c/p>\n\u003cp>At Rolling Loud, Bay Area rappers proudly defined their space in a culture where their contributions have been historically ignored. The authentic sounds of the Bay transformed Rolling Loud, the world’s largest hip-hop festival, into a weekend in East Oakland where the region’s rap stars truly shone among a lineup of mainstream acts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Rolling Loud\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0188-800x533.jpg\" alt=\"Saweetie plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie plays Rolling Loud Bay Area in Oakland onSept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0486-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0272-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0330-800x533.jpg\" alt=\"Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0377-800x533.jpg\" alt=\"Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0438-800x533.jpg\" alt=\"Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0459-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0472-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0504-800x533.jpg\" alt=\"Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0531-800x533.jpg\" alt=\"Gucci Mane plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gucci Mane plays Rolling Loud Bay Area in Oakland on Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0633-800x533.jpg\" alt=\"Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1201-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1186-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1157-800x533.jpg\" alt=\"Rae Sremmurd play Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rae Sremmurd play Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1133-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1127-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1085-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1066-2-800x533.jpg\" alt=\"Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1021-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0969-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1002-800x533.jpg\" alt=\"P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0946-800x533.jpg\" alt=\"Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0929-800x533.jpg\" alt=\"Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840926\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0903-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0732-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0899-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0825-800x533.jpg\" alt=\"Kamaiyah backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0809-800x533.jpg\" alt=\"Chief Keef plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Keef plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0798-800x533.jpg\" alt=\"Slimmy B backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slimmy B backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0758-800x533.jpg\" alt=\"Berner plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berner plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0747-800x533.jpg\" alt=\"Prezi at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0748-800x533.jpg\" alt=\"Mistah F.A.B. at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0742-800x533.jpg\" alt=\"Marty Grimes at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty Grimes at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Locals like E-40, ALLBLACK, P-Lo and G-Eazy injected the traveling rap fest with a distinctly regional flavor. ",
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"description": "Locals like E-40, ALLBLACK, P-Lo and G-Eazy injected the traveling rap fest with a distinctly regional flavor. ",
"title": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 15–16 at Oakland’s Coliseum grounds, a poster of P-Lo, the hyphy heartthrob, greeted Rolling Loud’s thousands of attendees as they entered the venue to witness an intergenerational lineup of Bay Area rappers and industry heavyweights like Travis Scott and Pusha T.\u003c/p>\n\u003cp>“The Bay is very important to the history of hip-hop,” Tariq Cherif, co-founder of Rolling Loud, told KQED Arts. “You know, a lot of the modern independent hip-hop scene was built and modeled after what guys in the Bay were doing.”\u003c/p>\n\u003cp>Since its debut in 2015, Rolling Loud has become the world’s largest traveling hip-hop festival, with editions in Miami and Los Angeles. But in 2017, its inaugural Bay Area event at Shoreline Amphitheater didn’t go off without a hitch: beloved Berkeley rapper Lil B was physically assaulted, allegedly by another rapper’s entourage, and some Bay Area rap fans and promoters lambasted the event online as a result.\u003c/p>\n\u003cp>Rolling Loud 2018 in Oakland, however, took a different tone: the two-day festival celebrated and uplifted the Bay Area’s regional sounds, with high-energy performances by over a dozen Northern California artists, including E-40, Kamaiyah, Saweetie, P-Lo, Mozzy and ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The critical mass of Bay Area and Sacramento artists kept the fest from feeling generic and gave it a distinctively local flavor. Without these acts, Rolling Loud Oakland would have blended in with the festival’s other editions, where Travis Scott, Young Thug and Jaden Smith have already performed. The crowd looked familiar, too: neon fanny packs, NBA jerseys and white-girl cornrows resembled Instagram in real life. And as it often happens at music festivals, many non-black concertgoers seemed to feel disconcertingly at ease saying the n-word as they rapped along with their favorite artists.\u003c/p>\n\u003cfigure id=\"attachment_13840951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840951\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0312-800x533.jpg\" alt=\"ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Rolling Loud’s Saturday kick-off, ALLBLACK didn’t let fans forget they were at a show in East Oakland, his home turf. He’s an emerging regional star on his way towards carrying Oakland’s sound beyond the 510. His set narrated his life experiences as a black man growing up in a neighborhood called the Murder Dubs, with an aggressive flow that blends the Town’s earlier music movements of mobb and hyphy into a forceful signature sound.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>P-Lo, fresh off of a national tour with Oakland-born chart-topper G-Eazy, performed an energetic homecoming set. His memorable line from his track “Put Me on Somethin’,” “Last year they ain’t even like the Bay,” served as a reminder of the Bay Area’s fight for recognition in the national music scene. After the hyphy movement, the Bay’s relationship to mainstream hip-hop weakened. But the recent rise of artists like G-Eazy, Kamaiyah and Saweetie, all of whom have major label deals, indicates a shift. Bay Area artists have long fought for a seat at the table, and the numerous local artists at Rolling Loud certainly felt like a step in that direction.\u003c/p>\n\u003cp>When G-Eazy joined P-Lo to perform their collaborative Bay Area anthem, “Power,” P-Lo shouted to the crowd, “You proud to be from the Bay… because I’m reppin proud Bay Area sh-t.” He and his DJ, Cal-A, tore up the crowd like only some boys from the Bay could, gigging in the audience as they closed their set. To the side of the stage, members of HBK Gang and ALLBLACK went dumb in solidarity.\u003c/p>\n\u003cp>Later, Saweetie and Guapdad 4000 performed an unreleased collaboration during the “Icy Girl” rapper’s set; the sense of community among the local artists was palpable. For a weekend, Bay Area rappers set aside differences and performed as a united front as the industry’s underdogs, holding their own among a roster of mainstream artists.\u003c/p>\n\u003cfigure id=\"attachment_13840924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0879-800x533.jpg\" alt=\"Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Rolling Loud featured a notable increase of female rappers, including Kamaiyah, the reigning queen of the Bay Area rap scene.“I f-cking made it in Oakland, we ain’t never seen anything like this before,” she said as she opened her set. She grew up not far from the Coliseum, on 73rd Avenue.\u003c/p>\n\u003cp>Mozzy’s set linked his hometown of Sacramento to the Bay; he brought out “Do Better” rapper Prezi, who reps San Francisco’s Hunters Point. North Oakland’s Mistah F.A.B, a crucial figure in the Bay Area rap scene, came out during Mozzy’s performance to show the crowd how to “Ghost Ride It” with his instructional hyphy-era anthem.\u003c/p>\n\u003cp>“Them Bay Area rappers is legendary to me, I got F.A.B. coming out on my set,” Mozzy told KQED Arts backstage. “Rappers ain’t show nothing but love and I’m appreciative to take the stage after so many that have came before me.”\u003c/p>\n\u003cfigure id=\"attachment_13840899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0296-800x533.jpg\" alt=\"G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40, godfather of Bay Area hip-hop, brought the spirit of the hyphy movement to Rolling Loud with “Tell Me When To Go.” As he spat the famous lines, “Jesus Christ had dreads / So shake ’em,” a new generation of Bay Area rappers, Kamaiyah and Slimmy B of SOB x RBE, watched in awe. When P-Lo and Nef The Pharaoh joined E-40 on stage to play “Bling Blaow” and “Put Me On Somethin’,” the joyful performance resembled a symbolic passing of the torch.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Rolling Loud, Bay Area rappers proudly defined their space in a culture where their contributions have been historically ignored. The authentic sounds of the Bay transformed Rolling Loud, the world’s largest hip-hop festival, into a weekend in East Oakland where the region’s rap stars truly shone among a lineup of mainstream acts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Rolling Loud\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0188-800x533.jpg\" alt=\"Saweetie plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie plays Rolling Loud Bay Area in Oakland onSept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0486-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0272-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0330-800x533.jpg\" alt=\"Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0377-800x533.jpg\" alt=\"Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0438-800x533.jpg\" alt=\"Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0459-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0472-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0504-800x533.jpg\" alt=\"Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0531-800x533.jpg\" alt=\"Gucci Mane plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gucci Mane plays Rolling Loud Bay Area in Oakland on Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0633-800x533.jpg\" alt=\"Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1201-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1186-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1157-800x533.jpg\" alt=\"Rae Sremmurd play Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rae Sremmurd play Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1133-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1127-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1085-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1066-2-800x533.jpg\" alt=\"Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1021-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0969-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1002-800x533.jpg\" alt=\"P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0946-800x533.jpg\" alt=\"Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0929-800x533.jpg\" alt=\"Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840926\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0903-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0732-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0899-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0825-800x533.jpg\" alt=\"Kamaiyah backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0809-800x533.jpg\" alt=\"Chief Keef plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Keef plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0798-800x533.jpg\" alt=\"Slimmy B backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slimmy B backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0758-800x533.jpg\" alt=\"Berner plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berner plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0747-800x533.jpg\" alt=\"Prezi at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0748-800x533.jpg\" alt=\"Mistah F.A.B. at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0742-800x533.jpg\" alt=\"Marty Grimes at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty Grimes at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "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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"title": "Future Reigns at Outside Lands on Saturday",
"headTitle": "Future Reigns at Outside Lands on Saturday | KQED",
"content": "\u003cp style=\"text-align: left\">For all the songs by Future about abusing painkillers and depressants, his Saturday Outside Lands performance was so high-energy and cleanly executed that the Atlanta rapper either has to be lying (because who wants to hear an album about gym reps and green juice?), or he simply has superhuman stamina.[contextly_sidebar id=”Dc2aHjqmZVgfmnNSPaCzOO1IeYMVD5xG”]\u003c/p>\n\u003cp>Though booked at the same time as headliner Florence + the Machine, Future’s set at the Twin Peaks stage packed just as large of a crowd, if not bigger. Future wasted no time getting to his hits, getting the crowd jumping with his triumphant hook on Ace Hood’s “Bugatti.” He then quickly shifted gears to “Thought It Was a Drought,” the ode to fast money and prescription cough syrup, with thousands singing along to the infamous line about infidelity in Gucci flip-flops.\u003c/p>\n\u003cfigure id=\"attachment_13838791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8180-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While more novice rappers often over-rely on vocal backing tracks and yell into the mic, Future’s voice sounded rich and full throughout his 75-minute set. Future is a pioneer of the contemporary trap style currently ruling radio, and listeners often associate him with Autotune. But in reality, his unique delivery comes from his lilting inflection and vocal range, projected from the diaphragm like someone who really knows how to \u003cem>sing\u003c/em>.\u003c/p>\n\u003cp>Future’s set was the highpoint of day two of Outside Lands, which felt somewhat lackluster between Friday’s \u003ca href=\"https://www.kqed.org/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show\" target=\"_blank\" rel=\"noopener\">exhilarating opening day\u003c/a> and Sunday’s stacked bill of Janet Jackson, Janelle Monae, The Internet and James Blake. Saturday’s heavy hitters included indie rock and pop stalwarts Bon Iver and CHVRCHES, who’ve both been fixtures of festival lineups for years. Their sets harked back to the old guard of Outside Lands, when white and mostly male musicians dominated the lineup.\u003c/p>\n\u003cfigure id=\"attachment_13838785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8008-800x533.jpg\" alt=\"Jamie xx performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie xx performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were a couple other disappointments: the schedule didn’t emphasize that Jamie xx, the producer, vocalist and guitarist from The xx, would play a DJ set during the day’s penultimate time slot; audience members murmured in confusion, having expected a live show. And “Crew” rapper Goldlink canceled his set due to travel issues. (San Francisco rapper Berner filled the slot at short notice, however, with a fun performance bursting with Bay Area pride.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of which set the conditions for Future to jolt the audience awake from the low-key afternoon. With his bold stage presence and expert command of the mic, Future focused the majority of his set on songs from \u003cem>DS2\u003c/em>, the album that elevated him from cult artist to rap’s favorite antihero. Washes of pink and blue projected on the screen as Future commanded the stage from a tunnel-like cylinder with light projections that looked like slime-green lightning.\u003c/p>\n\u003cfigure id=\"attachment_13838792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8185-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Future’s current fame and wealth is far removed from the trap houses he once knew, he’s stayed stubbornly consistent in his lyrical content over the years—and that’s because fans want lean-sipping Future, the Future of drug abuse, risky sex and depression. During “Stick Talk,” the mostly white and affluent crowd shouted along like they were right alongside him in the trenches.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7626-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lizzo Took Outside Lands to the Church of Girl Power and Self-Love\u003c/strong>\u003c/p>\n\u003cp>Minneapolis singer Lizzo brings a gospel delivery to twerk-worthy trap beats, and on the Lands End stage on Saturday, she preached a message of self-love and acceptance. Dressed in a flouncy tulle leotard, she reminded audience members of their personal power between tracks: “You should hire me as your motivational speaker,” she implored jokingly, “I’ll wake up and pop out of the closet like, ‘Good morning, bitch! You’re beautiful!”\u003c/p>\n\u003cp>During her closing song, “Good As Hell,” she busted out a bottle of Patrón during the line “All the big fights, long nights / That you’ve been through / I got a bottle of tequila / That I’ve been savin’ for you.” Lizzo is like a best friend who always understands—it’s no wonder her words resonate with a generation of women attempting to break free from old standards of beauty and sexual purity, and trying to embrace the messiness that makes them unique.\u003c/p>\n\u003cfigure id=\"attachment_13838771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7876-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SOB x RBE Brought Vallejo Out to Golden Gate Park\u003c/strong>\u003c/p>\n\u003cp>Along with Lizzo and Future, SOB x RBE, the boisterous Vallejo rap group, were one of Saturday’s emotional high points. Similarly to Caleborate the day before, they brought out an enthusiastic hometown crowd that sang along to every word of breakout hits “Anti” and “Lane Switching,” as well as deeper cuts like the Eazy-E–sampling “Calvin Cambridge.”\u003c/p>\n\u003cp>While the four-piece was mesmerizing with their aggressive flows, spat at a rapid clip, their set turned into a real party when Nef the Pharaoh turned up to perform his “Bling Blaow” featuring SOB’s Slimmy B. The crew also brought out Lil Sheik and a posse of hype men, who all turned up with the audience, visibly ecstatic to go from Vallejo’s underground scene to the big stage.\u003c/p>\n\u003cp>\u003cstrong>More photos below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7688-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7667-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8156-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7928-800x533.jpg\" alt=\"Tycho performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7809-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7877-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7698-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7728-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7824-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7742-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838770\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7874-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7989-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838788\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8123-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7881-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7832-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8090-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article originally mentioned that Father John Misty was on Saturday’s Outside Lands lineup, when he actually performed on Friday Aug. 10.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Atlanta chart-topper jolted the Outside Lands audience awake after an afternoon of mellow indie rock on Saturday. ",
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"title": "Future Reigns at Outside Lands on Saturday | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: left\">For all the songs by Future about abusing painkillers and depressants, his Saturday Outside Lands performance was so high-energy and cleanly executed that the Atlanta rapper either has to be lying (because who wants to hear an album about gym reps and green juice?), or he simply has superhuman stamina.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though booked at the same time as headliner Florence + the Machine, Future’s set at the Twin Peaks stage packed just as large of a crowd, if not bigger. Future wasted no time getting to his hits, getting the crowd jumping with his triumphant hook on Ace Hood’s “Bugatti.” He then quickly shifted gears to “Thought It Was a Drought,” the ode to fast money and prescription cough syrup, with thousands singing along to the infamous line about infidelity in Gucci flip-flops.\u003c/p>\n\u003cfigure id=\"attachment_13838791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8180-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While more novice rappers often over-rely on vocal backing tracks and yell into the mic, Future’s voice sounded rich and full throughout his 75-minute set. Future is a pioneer of the contemporary trap style currently ruling radio, and listeners often associate him with Autotune. But in reality, his unique delivery comes from his lilting inflection and vocal range, projected from the diaphragm like someone who really knows how to \u003cem>sing\u003c/em>.\u003c/p>\n\u003cp>Future’s set was the highpoint of day two of Outside Lands, which felt somewhat lackluster between Friday’s \u003ca href=\"https://www.kqed.org/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show\" target=\"_blank\" rel=\"noopener\">exhilarating opening day\u003c/a> and Sunday’s stacked bill of Janet Jackson, Janelle Monae, The Internet and James Blake. Saturday’s heavy hitters included indie rock and pop stalwarts Bon Iver and CHVRCHES, who’ve both been fixtures of festival lineups for years. Their sets harked back to the old guard of Outside Lands, when white and mostly male musicians dominated the lineup.\u003c/p>\n\u003cfigure id=\"attachment_13838785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8008-800x533.jpg\" alt=\"Jamie xx performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie xx performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were a couple other disappointments: the schedule didn’t emphasize that Jamie xx, the producer, vocalist and guitarist from The xx, would play a DJ set during the day’s penultimate time slot; audience members murmured in confusion, having expected a live show. And “Crew” rapper Goldlink canceled his set due to travel issues. (San Francisco rapper Berner filled the slot at short notice, however, with a fun performance bursting with Bay Area pride.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of which set the conditions for Future to jolt the audience awake from the low-key afternoon. With his bold stage presence and expert command of the mic, Future focused the majority of his set on songs from \u003cem>DS2\u003c/em>, the album that elevated him from cult artist to rap’s favorite antihero. Washes of pink and blue projected on the screen as Future commanded the stage from a tunnel-like cylinder with light projections that looked like slime-green lightning.\u003c/p>\n\u003cfigure id=\"attachment_13838792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8185-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Future’s current fame and wealth is far removed from the trap houses he once knew, he’s stayed stubbornly consistent in his lyrical content over the years—and that’s because fans want lean-sipping Future, the Future of drug abuse, risky sex and depression. During “Stick Talk,” the mostly white and affluent crowd shouted along like they were right alongside him in the trenches.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7626-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lizzo Took Outside Lands to the Church of Girl Power and Self-Love\u003c/strong>\u003c/p>\n\u003cp>Minneapolis singer Lizzo brings a gospel delivery to twerk-worthy trap beats, and on the Lands End stage on Saturday, she preached a message of self-love and acceptance. Dressed in a flouncy tulle leotard, she reminded audience members of their personal power between tracks: “You should hire me as your motivational speaker,” she implored jokingly, “I’ll wake up and pop out of the closet like, ‘Good morning, bitch! You’re beautiful!”\u003c/p>\n\u003cp>During her closing song, “Good As Hell,” she busted out a bottle of Patrón during the line “All the big fights, long nights / That you’ve been through / I got a bottle of tequila / That I’ve been savin’ for you.” Lizzo is like a best friend who always understands—it’s no wonder her words resonate with a generation of women attempting to break free from old standards of beauty and sexual purity, and trying to embrace the messiness that makes them unique.\u003c/p>\n\u003cfigure id=\"attachment_13838771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7876-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SOB x RBE Brought Vallejo Out to Golden Gate Park\u003c/strong>\u003c/p>\n\u003cp>Along with Lizzo and Future, SOB x RBE, the boisterous Vallejo rap group, were one of Saturday’s emotional high points. Similarly to Caleborate the day before, they brought out an enthusiastic hometown crowd that sang along to every word of breakout hits “Anti” and “Lane Switching,” as well as deeper cuts like the Eazy-E–sampling “Calvin Cambridge.”\u003c/p>\n\u003cp>While the four-piece was mesmerizing with their aggressive flows, spat at a rapid clip, their set turned into a real party when Nef the Pharaoh turned up to perform his “Bling Blaow” featuring SOB’s Slimmy B. The crew also brought out Lil Sheik and a posse of hype men, who all turned up with the audience, visibly ecstatic to go from Vallejo’s underground scene to the big stage.\u003c/p>\n\u003cp>\u003cstrong>More photos below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7688-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7667-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8156-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7928-800x533.jpg\" alt=\"Tycho performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7809-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7877-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7698-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7728-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7824-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7742-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838770\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7874-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7989-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838788\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8123-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7881-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7832-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8090-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article originally mentioned that Father John Misty was on Saturday’s Outside Lands lineup, when he actually performed on Friday Aug. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Ranch with Nef the Pharaoh",
"headTitle": "On the Ranch with Nef the Pharaoh | KQED",
"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\">“S\u003c/span>cared of lizards or mice, y’all?” Nef the Pharaoh asks as he ushers me and a photographer into the barn of his Vacaville ranch to show off his ATV.\u003c/p>\n\u003cp>“I try to have my friends come up here,” he says as he pulls off the dusty cover to get on the four-wheeler. “We do paint balling. We have a couple ATVs going, a few dirt bikes in the garage.”\u003c/p>\n\u003cp>The Vallejo-raised rapper has been coming to this two-and-a-half-acre ranch since he was a little boy. His grandfather James got the property on a lease-to-own land contract after coming back from the Vietnam war as a combat-injured veteran. Once his rap money started coming in, Nef paid off the rest with his dad.\u003c/p>\n\u003cp>“Now it’s ours and we own it,” he says with pride.\u003c/p>\n\u003cfigure id=\"attachment_13838170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838170 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh visits his Vacaville ranch often to escape city life and ride ATVs with his friends. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef, who just drove in from his nearby condo in a silver Mercedes, has on a white tank top and simple gray sweats with one pant leg rolled up; he got a new tattoo earlier in the day and needs to let it breathe. The 90-degree heat makes the freshly inked words “Dream More” bleed on his shin, right next to a tattooed portrait of his mentor, E-40, a fellow ambassador of the 707 who’s championed Nef since before his single about being a teenage hustler, “\u003ca href=\"https://youtu.be/qwEZGsf_MXA\" target=\"_blank\" rel=\"noopener\">Big Tymin’\u003c/a>,” went viral in 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I got this far and never signed with a major label, ever,” Nef says, praising E-40 for setting an example of how to thrive as an indie artist in the Bay Area.\u003c/p>\n\u003cp>When E-40 signed Nef to his label, Sick Wid It Records, it was an invaluable endorsement from the foremost gatekeeper of Bay Area rap. Now, with his first official album (and fourth major project), \u003cem>The Big Chang Theory\u003c/em>, dropping on Aug. 10, Nef has outgrown the role of protégé, becoming a star of the Bay Area music scene in his own right.\u003c/p>\n\u003cp>Along with indie upstarts like SOB x RBE, ALLBLACK and Mozzy, Nef the Pharaoh has come to define the current era of hard-edged, streetwise Northern California rap. Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=FJVxiyiVflg\" target=\"_blank\" rel=\"noopener\">Bling Blaow\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EwH5C4DSgSg\" target=\"_blank\" rel=\"noopener\">#Saydaat\u003c/a>” have become regional hits over the past two years. And collaborations with some of the West Coast’s biggest stars, including Ty Dolla $ign, YG and G-Eazy, have positioned Nef as a conduit between the notoriously insular Bay Area scene and the national stage.\u003c/p>\n\u003cp>“I never wanna get satisfied because once you get satisfied, you get lazy. Everyday, I know I accomplished a goal but I still want to go at it like I’m a freshman,” he says of his place in the local rap pantheon, taking a sip of an ice-cold Snapple. “I still want to achieve, or prove, or earn my spot. I don’t wanna kick my feet up.”\u003c/p>\n\u003cp>A gracious host, Nef continues the tour of the ranch. A herd of baby goats skips away as he approaches, seemingly unaccustomed to the presence of an urbanite visitor with a diamond-encrusted gold chain (incidentally, in the shape of Plank from the cartoon \u003cem>Ed, Edd n Eddy\u003c/em>, about a trio of friends obsessed with concocting money-making schemes).\u003c/p>\n\u003cfigure id=\"attachment_13838171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838171 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh has outgrown the role of E-40’s protégé and become a Bay Area rap star in his own right. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We walk along the dirt path, through shady groves of fig and olive trees, to a team of horses, some of whom Nef and his grandfather adopted from ranchers displaced by last year’s destructive Sonoma County wildfires. When he points out his favorite, a brown-and-white mare, his face lights up with the gentle kindness of a genuine animal lover.\u003c/p>\n\u003cp>Nef, who was raised in South Vallejo (in E-40’s Magazine Street neighborhood) and Sacramento, often visits the ranch to get away from the stresses of city life.\u003c/p>\n\u003cp>“I come here and get a peace of mind,” he says as we sit down on a porch swing in the shade. “All you hear is the highways, and you see the stars.”\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\">D\u003c/span>espite Nef’s considerable success, those urban stresses are ever-present in \u003cem>The Big Chang Theory\u003c/em>, whose opener “Victim,” featuring OMB Peezy, indicts police brutality against the black community.\u003c/p>\n\u003cp>“I’ve witnessed police brutality in my younger years, and I’ve witnessed police brutality this year—me being Nef the Pharaoh,” he says, adding that success doesn’t insulate him from the realities of racism in America. “I just want the world to know that even though I’m here and I’m able to maintain this lifestyle, the flashy objects, I’m woke. I still know what’s going on. And they still hate me just like you. I’m still a product of my environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838176 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On his new album, ‘The Big Chang Theory,’ Nef the Pharaoh candidly addresses police brutality against the black community. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conversation turns to Stephon Clark, the unarmed 22-year-old murdered by Sacramento police in his grandmother’s backyard in May, leaving behind his girlfriend and two young kids. “I actually smoked with him a few times in my adolescence,” Nef says—and then, conscious of the ways the media often demonizes victims of violent crimes when they’re black, clarifies, “Even though I’m saying I smoked marijuana with the dude, he wasn’t a bad person.”\u003c/p>\n\u003cp>On “Victim,” Nef calls out racism in the criminal justice system without mincing words: “That’s why I hate the police / And I raise my son to / Baby, we got melanin / That’s why they wanna hunt you,” he rhymes over an airy beat that manages to sound wistful despite its subterranean bass and distinctive Bay Area bounce.\u003c/p>\n\u003cp>With the track, Nef makes poetry out of that pain and fear, but he’s also pragmatic. He brings up the fact that officers rarely face legal consequences for killing unarmed citizens, and explains the need for greater accountability. “Some cops have a whole background history of being racist; they have a whole background issue of mental illnesses,” Nef says. “One thing might trigger their mental illness and next thing you know, he’s beating this man senseless or he just shot this man for no reason. They should really be evaluated deeper than they are; they should go through more training than they are.”\u003c/p>\n\u003cp>Amid the many highly publicized police shootings in recent years, Clark’s killing hit particularly close to home to Nef as a young father, he explains. “Even though me and my son’s mom aren’t together, we always talk about how fathers or young parents get taken away from their kids and how much that would hurt,” says Nef, who is 23.\u003c/p>\n\u003cfigure id=\"attachment_13838175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838175 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I come here and get a peace of mind. All you hear is the highways, and you see the stars.” \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef’s \u003ca href=\"https://twitter.com/gmeline/status/934689530338197505\" target=\"_blank\" rel=\"noopener\">four-year-old son\u003c/a>, whom he co-parents with his ex, is a huge part of his life. Baby Nef was a newborn when “Big Tymin’” started to blow up on YouTube. Navigating newfound fame, financial success and fatherhood made Nef grow up quickly, and he looks back on that turbulent period as a major life lesson. “That was a dope time in my life,” Nef says. “But me being young and on the road fucked up my relationship with his mom. I was a young adolescent; I just let the road get in the way of what was more important, relationship-wise. We’re still not together, but it is what it is. I just gotta be a man and take care of my family.”\u003c/p>\n\u003cp>The demands of fatherhood called for more income, and more income meant more touring and being away from home. After a pensive pause, he raises his voice passionately to talk about the often-overlooked mental health consequences of being a traveling musician. “Man! Depression, anxiety,” he exclaims. “A lot of shit that rappers don’t talk about, or a lot of rappers try to cover it with this big Xanax epidemic.”\u003c/p>\n\u003cp>He mentions Lil Peep, who died of an opioid overdose in 2017. “I just see my peers—this anxiety and depression that we go through, being young and on this road by ourselves—feeling like we have no one to talk to can eat you alive,” Nef says, adding that he once had a Xanax prescription for anxiety and stopped taking the drug because it made him feel like a “robot” and a “zombie.” “I saw that early on and I vowed to myself that I wasn’t going to be one of those rappers.”\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\">B\u003c/span>eyond its downcast opening track, Nef’s attitude throughout \u003cem>The Big Chang Theory\u003c/em> is celebratory yet defiant—of racist institutions, the law, poverty, stereotypes. The project’s bonafide club banger is the rapidfire “\u003ca href=\"https://youtu.be/b8aONPFZ2xs\" target=\"_blank\" rel=\"noopener\">86\u003c/a>” featuring ALLBLACK and Cuban Doll (who’s shaping up to be a next-generation Trina with her mix of pretty and gangster). On it, the trio spits venom about getting booted out of a club to an adrenaline-inducing, double-time beat with a gritty, Bay-meets-Detroit funk.\u003c/p>\n\u003cfigure id=\"attachment_13838174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838174 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Balancing fun, toughness and honest reflection, ‘The Big Chang Theory’ is a compelling snapshot of Nef the Pharaoh’s life. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, Nef does plenty of punchline-oriented flexing, but \u003cem>The Big Chang Theory\u003c/em> also goes deep into his real-life struggles—being a young dad, escaping poverty by virtue of his talents, navigating the pitfalls of fame. With Hercules’ DTB and Sacramento’s Juneonnabeat as producers, the project positions Nef as an heir to Northern California’s mobb music sound—which his mentor, E-40, helped pioneer in the ’80s and ’90s.\u003c/p>\n\u003cp>That balance of fun, toughness and honest reflection throughout \u003cem>The Big Chang Theory\u003c/em> gives Nef a chameleon-like quality, appealing to suburban kids and those from the hood alike. He sounds just as natural on a love song with silky-voiced Dej Loaf (“What We Have”) as he does on his recent mixtape with 03 Greedo, the L.A. rapper who recently went to prison on a 20-year sentence for trafficking meth.\u003c/p>\n\u003cp>But as much as Nef chases success, broad appeal comes with a price, and he remains wary of fame. “Knock Down a Fan” is a warning to hangers-on with bad intentions—a testament to the lessons he’s learned on tour.\u003c/p>\n\u003cp>“Now I know how to be prepared for the road more: keep my dick in my pants,” Nef says. “Even though I’m single, it’s not safe, gambling with life. I could have another baby. I could catch an STD. Everybody’s gonna come up to you with a smile, but they’re not going to show you the jealousy and envy. The demons that’s holding the sides of them cheeks up—those are invisible.”\u003c/p>\n\u003cfigure id=\"attachment_13838178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838178 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wariness of fame and life on the road is a major theme in Nef the Pharaoh’s latest music. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef the Pharaoh has always been precocious. He knew he wanted to be a rapper after winning a talent contest at four years old, and later dropped out of high school in Sacramento to pursue his dream. (He comes from a musical family: his uncle was a member of the pioneering Chicano rap group Funky Aztecs). On one of his early features, on Corn’s “\u003ca href=\"https://youtu.be/XWDDenNx0Y0\" target=\"_blank\" rel=\"noopener\">Old School Hyphy\u003c/a>,” he brags about out-earning his teachers via the streets.\u003c/p>\n\u003cp>Now, he’s focused on building wealth that will weather the ups and downs of the notoriously fickle music industry. Like E-40, who preaches the value of persistence and diversifying one’s income, Nef is slowly building his business empire and a better future for his son.\u003c/p>\n\u003cp>“If I get something, it’s going to be land, a vehicle—something that’s going to last me long-term that I can invest in,” he says, mentioning his brand of pre-rolled joints, called Pharaohs, that he sells at cannabis clubs across the Bay Area. He’s also working on his own weed strain, called Chang’s Hii Chew (named after the Japanese candy), and is starting a French bulldog-breeding business on the ranch with his dad.\u003c/p>\n\u003cp>Nef is also writing a cartoon that he hopes to pitch to Adult Swim. And his own label, KILFMB (Keep it Lit for My Brothers, a motto for living life to the fullest in honor of those who’ve passed), is also on the rise: his first signee, OMB Peezy, has been gaining national attention for his Sacramento-by-way-of-Alabama swag in recent years. The two of them will hit the road with E-40 later this month for the \u003ca href=\"https://twitter.com/E40/status/1019181904828874753\" target=\"_blank\" rel=\"noopener\">Gift of Gab tour\u003c/a>, which Nef plans to follow up with a tour of his own.\u003c/p>\n\u003cp>Nef says goodbye to his grandfather, who’s inside watching the news at high volume with no air conditioning. It’s time to escape the unforgiving Vacaville heat, he says, and go back to the condo to finish binge-watching the new season of \u003cem>Orange is the New Black\u003c/em>. He’s savoring his days off before hitting the road again for several weeks.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“After this album drops, it’s foot on the gas,” he says, determined, and hops in his Mercedes to cruise down the desolate country highway.\u003c/p>\n\n",
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"excerpt": "Among hay bales and baby goats, the Bay Area rap star discusses leaving Vallejo, police brutality and his new album, 'The Big Chang Theory.'",
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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\">“S\u003c/span>cared of lizards or mice, y’all?” Nef the Pharaoh asks as he ushers me and a photographer into the barn of his Vacaville ranch to show off his ATV.\u003c/p>\n\u003cp>“I try to have my friends come up here,” he says as he pulls off the dusty cover to get on the four-wheeler. “We do paint balling. We have a couple ATVs going, a few dirt bikes in the garage.”\u003c/p>\n\u003cp>The Vallejo-raised rapper has been coming to this two-and-a-half-acre ranch since he was a little boy. His grandfather James got the property on a lease-to-own land contract after coming back from the Vietnam war as a combat-injured veteran. Once his rap money started coming in, Nef paid off the rest with his dad.\u003c/p>\n\u003cp>“Now it’s ours and we own it,” he says with pride.\u003c/p>\n\u003cfigure id=\"attachment_13838170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838170 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh visits his Vacaville ranch often to escape city life and ride ATVs with his friends. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef, who just drove in from his nearby condo in a silver Mercedes, has on a white tank top and simple gray sweats with one pant leg rolled up; he got a new tattoo earlier in the day and needs to let it breathe. The 90-degree heat makes the freshly inked words “Dream More” bleed on his shin, right next to a tattooed portrait of his mentor, E-40, a fellow ambassador of the 707 who’s championed Nef since before his single about being a teenage hustler, “\u003ca href=\"https://youtu.be/qwEZGsf_MXA\" target=\"_blank\" rel=\"noopener\">Big Tymin’\u003c/a>,” went viral in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I got this far and never signed with a major label, ever,” Nef says, praising E-40 for setting an example of how to thrive as an indie artist in the Bay Area.\u003c/p>\n\u003cp>When E-40 signed Nef to his label, Sick Wid It Records, it was an invaluable endorsement from the foremost gatekeeper of Bay Area rap. Now, with his first official album (and fourth major project), \u003cem>The Big Chang Theory\u003c/em>, dropping on Aug. 10, Nef has outgrown the role of protégé, becoming a star of the Bay Area music scene in his own right.\u003c/p>\n\u003cp>Along with indie upstarts like SOB x RBE, ALLBLACK and Mozzy, Nef the Pharaoh has come to define the current era of hard-edged, streetwise Northern California rap. Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=FJVxiyiVflg\" target=\"_blank\" rel=\"noopener\">Bling Blaow\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EwH5C4DSgSg\" target=\"_blank\" rel=\"noopener\">#Saydaat\u003c/a>” have become regional hits over the past two years. And collaborations with some of the West Coast’s biggest stars, including Ty Dolla $ign, YG and G-Eazy, have positioned Nef as a conduit between the notoriously insular Bay Area scene and the national stage.\u003c/p>\n\u003cp>“I never wanna get satisfied because once you get satisfied, you get lazy. Everyday, I know I accomplished a goal but I still want to go at it like I’m a freshman,” he says of his place in the local rap pantheon, taking a sip of an ice-cold Snapple. “I still want to achieve, or prove, or earn my spot. I don’t wanna kick my feet up.”\u003c/p>\n\u003cp>A gracious host, Nef continues the tour of the ranch. A herd of baby goats skips away as he approaches, seemingly unaccustomed to the presence of an urbanite visitor with a diamond-encrusted gold chain (incidentally, in the shape of Plank from the cartoon \u003cem>Ed, Edd n Eddy\u003c/em>, about a trio of friends obsessed with concocting money-making schemes).\u003c/p>\n\u003cfigure id=\"attachment_13838171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838171 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh has outgrown the role of E-40’s protégé and become a Bay Area rap star in his own right. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We walk along the dirt path, through shady groves of fig and olive trees, to a team of horses, some of whom Nef and his grandfather adopted from ranchers displaced by last year’s destructive Sonoma County wildfires. When he points out his favorite, a brown-and-white mare, his face lights up with the gentle kindness of a genuine animal lover.\u003c/p>\n\u003cp>Nef, who was raised in South Vallejo (in E-40’s Magazine Street neighborhood) and Sacramento, often visits the ranch to get away from the stresses of city life.\u003c/p>\n\u003cp>“I come here and get a peace of mind,” he says as we sit down on a porch swing in the shade. “All you hear is the highways, and you see the stars.”\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\">D\u003c/span>espite Nef’s considerable success, those urban stresses are ever-present in \u003cem>The Big Chang Theory\u003c/em>, whose opener “Victim,” featuring OMB Peezy, indicts police brutality against the black community.\u003c/p>\n\u003cp>“I’ve witnessed police brutality in my younger years, and I’ve witnessed police brutality this year—me being Nef the Pharaoh,” he says, adding that success doesn’t insulate him from the realities of racism in America. “I just want the world to know that even though I’m here and I’m able to maintain this lifestyle, the flashy objects, I’m woke. I still know what’s going on. And they still hate me just like you. I’m still a product of my environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838176 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On his new album, ‘The Big Chang Theory,’ Nef the Pharaoh candidly addresses police brutality against the black community. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conversation turns to Stephon Clark, the unarmed 22-year-old murdered by Sacramento police in his grandmother’s backyard in May, leaving behind his girlfriend and two young kids. “I actually smoked with him a few times in my adolescence,” Nef says—and then, conscious of the ways the media often demonizes victims of violent crimes when they’re black, clarifies, “Even though I’m saying I smoked marijuana with the dude, he wasn’t a bad person.”\u003c/p>\n\u003cp>On “Victim,” Nef calls out racism in the criminal justice system without mincing words: “That’s why I hate the police / And I raise my son to / Baby, we got melanin / That’s why they wanna hunt you,” he rhymes over an airy beat that manages to sound wistful despite its subterranean bass and distinctive Bay Area bounce.\u003c/p>\n\u003cp>With the track, Nef makes poetry out of that pain and fear, but he’s also pragmatic. He brings up the fact that officers rarely face legal consequences for killing unarmed citizens, and explains the need for greater accountability. “Some cops have a whole background history of being racist; they have a whole background issue of mental illnesses,” Nef says. “One thing might trigger their mental illness and next thing you know, he’s beating this man senseless or he just shot this man for no reason. They should really be evaluated deeper than they are; they should go through more training than they are.”\u003c/p>\n\u003cp>Amid the many highly publicized police shootings in recent years, Clark’s killing hit particularly close to home to Nef as a young father, he explains. “Even though me and my son’s mom aren’t together, we always talk about how fathers or young parents get taken away from their kids and how much that would hurt,” says Nef, who is 23.\u003c/p>\n\u003cfigure id=\"attachment_13838175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838175 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I come here and get a peace of mind. All you hear is the highways, and you see the stars.” \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef’s \u003ca href=\"https://twitter.com/gmeline/status/934689530338197505\" target=\"_blank\" rel=\"noopener\">four-year-old son\u003c/a>, whom he co-parents with his ex, is a huge part of his life. Baby Nef was a newborn when “Big Tymin’” started to blow up on YouTube. Navigating newfound fame, financial success and fatherhood made Nef grow up quickly, and he looks back on that turbulent period as a major life lesson. “That was a dope time in my life,” Nef says. “But me being young and on the road fucked up my relationship with his mom. I was a young adolescent; I just let the road get in the way of what was more important, relationship-wise. We’re still not together, but it is what it is. I just gotta be a man and take care of my family.”\u003c/p>\n\u003cp>The demands of fatherhood called for more income, and more income meant more touring and being away from home. After a pensive pause, he raises his voice passionately to talk about the often-overlooked mental health consequences of being a traveling musician. “Man! Depression, anxiety,” he exclaims. “A lot of shit that rappers don’t talk about, or a lot of rappers try to cover it with this big Xanax epidemic.”\u003c/p>\n\u003cp>He mentions Lil Peep, who died of an opioid overdose in 2017. “I just see my peers—this anxiety and depression that we go through, being young and on this road by ourselves—feeling like we have no one to talk to can eat you alive,” Nef says, adding that he once had a Xanax prescription for anxiety and stopped taking the drug because it made him feel like a “robot” and a “zombie.” “I saw that early on and I vowed to myself that I wasn’t going to be one of those rappers.”\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\">B\u003c/span>eyond its downcast opening track, Nef’s attitude throughout \u003cem>The Big Chang Theory\u003c/em> is celebratory yet defiant—of racist institutions, the law, poverty, stereotypes. The project’s bonafide club banger is the rapidfire “\u003ca href=\"https://youtu.be/b8aONPFZ2xs\" target=\"_blank\" rel=\"noopener\">86\u003c/a>” featuring ALLBLACK and Cuban Doll (who’s shaping up to be a next-generation Trina with her mix of pretty and gangster). On it, the trio spits venom about getting booted out of a club to an adrenaline-inducing, double-time beat with a gritty, Bay-meets-Detroit funk.\u003c/p>\n\u003cfigure id=\"attachment_13838174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838174 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Balancing fun, toughness and honest reflection, ‘The Big Chang Theory’ is a compelling snapshot of Nef the Pharaoh’s life. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, Nef does plenty of punchline-oriented flexing, but \u003cem>The Big Chang Theory\u003c/em> also goes deep into his real-life struggles—being a young dad, escaping poverty by virtue of his talents, navigating the pitfalls of fame. With Hercules’ DTB and Sacramento’s Juneonnabeat as producers, the project positions Nef as an heir to Northern California’s mobb music sound—which his mentor, E-40, helped pioneer in the ’80s and ’90s.\u003c/p>\n\u003cp>That balance of fun, toughness and honest reflection throughout \u003cem>The Big Chang Theory\u003c/em> gives Nef a chameleon-like quality, appealing to suburban kids and those from the hood alike. He sounds just as natural on a love song with silky-voiced Dej Loaf (“What We Have”) as he does on his recent mixtape with 03 Greedo, the L.A. rapper who recently went to prison on a 20-year sentence for trafficking meth.\u003c/p>\n\u003cp>But as much as Nef chases success, broad appeal comes with a price, and he remains wary of fame. “Knock Down a Fan” is a warning to hangers-on with bad intentions—a testament to the lessons he’s learned on tour.\u003c/p>\n\u003cp>“Now I know how to be prepared for the road more: keep my dick in my pants,” Nef says. “Even though I’m single, it’s not safe, gambling with life. I could have another baby. I could catch an STD. Everybody’s gonna come up to you with a smile, but they’re not going to show you the jealousy and envy. The demons that’s holding the sides of them cheeks up—those are invisible.”\u003c/p>\n\u003cfigure id=\"attachment_13838178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838178 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wariness of fame and life on the road is a major theme in Nef the Pharaoh’s latest music. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef the Pharaoh has always been precocious. He knew he wanted to be a rapper after winning a talent contest at four years old, and later dropped out of high school in Sacramento to pursue his dream. (He comes from a musical family: his uncle was a member of the pioneering Chicano rap group Funky Aztecs). On one of his early features, on Corn’s “\u003ca href=\"https://youtu.be/XWDDenNx0Y0\" target=\"_blank\" rel=\"noopener\">Old School Hyphy\u003c/a>,” he brags about out-earning his teachers via the streets.\u003c/p>\n\u003cp>Now, he’s focused on building wealth that will weather the ups and downs of the notoriously fickle music industry. Like E-40, who preaches the value of persistence and diversifying one’s income, Nef is slowly building his business empire and a better future for his son.\u003c/p>\n\u003cp>“If I get something, it’s going to be land, a vehicle—something that’s going to last me long-term that I can invest in,” he says, mentioning his brand of pre-rolled joints, called Pharaohs, that he sells at cannabis clubs across the Bay Area. He’s also working on his own weed strain, called Chang’s Hii Chew (named after the Japanese candy), and is starting a French bulldog-breeding business on the ranch with his dad.\u003c/p>\n\u003cp>Nef is also writing a cartoon that he hopes to pitch to Adult Swim. And his own label, KILFMB (Keep it Lit for My Brothers, a motto for living life to the fullest in honor of those who’ve passed), is also on the rise: his first signee, OMB Peezy, has been gaining national attention for his Sacramento-by-way-of-Alabama swag in recent years. The two of them will hit the road with E-40 later this month for the \u003ca href=\"https://twitter.com/E40/status/1019181904828874753\" target=\"_blank\" rel=\"noopener\">Gift of Gab tour\u003c/a>, which Nef plans to follow up with a tour of his own.\u003c/p>\n\u003cp>Nef says goodbye to his grandfather, who’s inside watching the news at high volume with no air conditioning. It’s time to escape the unforgiving Vacaville heat, he says, and go back to the condo to finish binge-watching the new season of \u003cem>Orange is the New Black\u003c/em>. He’s savoring his days off before hitting the road again for several weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“After this album drops, it’s foot on the gas,” he says, determined, and hops in his Mercedes to cruise down the desolate country highway.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s just after 11pm on a Saturday night in July, and bodies are spilling out of the second-floor venue of the Legionnaire Saloon in Oakland. It’s crowded. So crowded that finding a spot inside requires patience, fluidity and a string of “excuse me’s.”\u003c/p>\n\u003cp>The DJ, Threesixsashia, drops Deneice Williams’s airy, glittering ’70s R&B single “Free” into her set. There’s not much room to dance, but fervent nods and widely splayed smiles abound at volume 49 of the monthly beat showcase, \u003ca href=\"https://smartbomboakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>.\u003c/p>\n\u003cp>Saturday nights like these have been a regular occurrence since 2013 for the East Bay music and art collective behind the popular party, which spotlights mostly local producers and DJs with an ear for experimental jazz, hip-hop and electronic sounds.\u003c/p>\n\u003cp>“It’s kind of like church,” says co-founder Jason Garcia, who also performs as \u003ca href=\"https://soundcloud.com/asonic-garcia\" target=\"_blank\" rel=\"noopener\">Asonic\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/00CRvTo6F-Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born of the imaginations of avid record collectors and crate diggers, “beat music” is a cross-pollination of R&B, hip-hop, jazz and more obscure, cerebral genres like IDM, or intelligent dance music. This type of experimental beatmaking saw a more mainstream crossover when, picking up the baton from the cult producers like Dabrye and J Dilla, producer and head of \u003ca href=\"https://www.alphapuprecords.com/\" target=\"_blank\" rel=\"noopener\">Alpha Pup Records\u003c/a>, Daddy Kev, launched the party \u003ca href=\"http://www.lowendtheoryclub.com/\" target=\"_blank\" rel=\"noopener\">Low End Theory\u003c/a> in 2006. With Low End, Daddy Kev created a platform for influential artists like Flying Lotus, DJ Nobody, Nosaj Thing, Daedelus and Glitch Mob, and laid the groundwork for creating and fostering a community of artists who spun hip-hop into a patchwork of sputtering drums, psychedelic synthesizers and near-suffocating bass.\u003c/p>\n\u003cp>“Those cats inspired everyone,” says Smart Bomb member Andrew Johnson, who makes music as Drewmin. “Everyone tried to run around and do what they were doing.”\u003c/p>\n\u003cp>While Johnson saw the beauty in Low End, he didn’t want to just reproduce the L.A. party. Instead, he sought to give it a distinctly Bay Area spin. “It’s like when people talk about sampling Dilla: don’t bite that guy, do something crazy and new if you want to honor dude,” says Johnson.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2573862317/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“The Bay Area has its own style,” says Garcia. “The headiest people could also be the hyphiest people. There’s a soulfulness that’s in everything, no matter what you do. You come up to the Bay for new ideas, so that’s what we’re trying to be, on the forefront of this type of music.”\u003c/p>\n\u003cp>In the beginning, it was hard to get promoters on board with the nebulous nature of Smart Bomb. “We started it out of sheer lack of any kind of consistent gathering for all the artists we hang around with,” Garcia says.\u003c/p>\n\u003cp>Smart Bomb found a home when Legionnaire owner Zack Turner was on the verge of opening his venue and looking to book local talent. The Irish pub and Smart Bomb volume one both debuted in March 2013.\u003c/p>\n\u003cp>“We were kind of on the fringe of everything,” Garcia says. For the first show, which starred his band Secret Sidewalk, whose music plays like a futurist dispatch of samples, synths and saxophones, he called up friends from different geographic and sonic pockets to assemble his “dream team” line-up: funk-oriented Oakland producer SpaceGhost, San Francisco’s Ruff Draft, Puzzle and Secret Sidewalk member Mike Boo.\u003c/p>\n\u003cp>“There was a wealth of talent in our community that never really had a place to shine before,” Garcia says. In the last five years, Smart Bomb has also booked talent from outside the Bay Area (previous names on the bill include introspective rapper/producer Quelle Chris, Watts-born beatmaker Dibia$e and Ras G, an Afrofuturist, free jazz-inspired producer and DJ out of Los Angeles) but their focus remains on Oakland talent, and people have taken notice.\u003c/p>\n\u003cp>https://youtu.be/PNi_ovN_3CQ\u003c/p>\n\u003cp>The collective is one of six DJ crews picked to play \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">Red Bull Music’s Oakland showcase\u003c/a> this on July 28. Alongside Club Chai, the B-Side Brujas, Another Party Fam, 45 Sessions and NVR OVR, Smart Bomb will round out a party intended to highlight the underground music scenes that make The Town was it is.\u003c/p>\n\u003cp>“As we [continue to] grow, it’s important to have a balance of shining light on new talent and exposing young people to the legends,” Garcia says. This balance of established local talent and up-and-comers, the crew envisions, is a chance to show greener artists the ropes.\u003c/p>\n\u003cp>“A lot of these young cats, they’re in their bedrooms being creative, they have amazing imaginations but they don’t know nothing about what kind of cables they need or what kind of plugs; they don’t know about how to hold the mic or what kind of mic to use; they don’t show up with anything,” Andrew explains. “It’s our responsibility to game them up.”\u003c/p>\n\u003cp>In that vein, Smart Bomb isn’t another party. It’s a space of discovery, for those on and off stage.\u003c/p>\n\u003cp>“I feel like this place has changed a lot of people’s lives, because it’s such a family oriented place,” says Cinque Mubarak, a photographer in Smart Bomb (the collective has expanded to include other types of artists who share their ethos of standing on the fringes). Before Smart Bomb, Mubarak says he was very reserved, but the monthly event opened up to him a community of artists.\u003c/p>\n\u003cp>“People grow here. They come every month and see familiar faces, especially people who have social anxiety,” Mubarak says. “I’ve seen them grow so much. If you want to be a wallflower, you can be a wallflower.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Smart Bomb crew performs at Red Bull Music’s Oakland showcase on July 28 at Geoffrey’s Inner Circle. Details \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born of the imaginations of avid record collectors and crate diggers, “beat music” is a cross-pollination of R&B, hip-hop, jazz and more obscure, cerebral genres like IDM, or intelligent dance music. This type of experimental beatmaking saw a more mainstream crossover when, picking up the baton from the cult producers like Dabrye and J Dilla, producer and head of \u003ca href=\"https://www.alphapuprecords.com/\" target=\"_blank\" rel=\"noopener\">Alpha Pup Records\u003c/a>, Daddy Kev, launched the party \u003ca href=\"http://www.lowendtheoryclub.com/\" target=\"_blank\" rel=\"noopener\">Low End Theory\u003c/a> in 2006. With Low End, Daddy Kev created a platform for influential artists like Flying Lotus, DJ Nobody, Nosaj Thing, Daedelus and Glitch Mob, and laid the groundwork for creating and fostering a community of artists who spun hip-hop into a patchwork of sputtering drums, psychedelic synthesizers and near-suffocating bass.\u003c/p>\n\u003cp>“Those cats inspired everyone,” says Smart Bomb member Andrew Johnson, who makes music as Drewmin. “Everyone tried to run around and do what they were doing.”\u003c/p>\n\u003cp>While Johnson saw the beauty in Low End, he didn’t want to just reproduce the L.A. party. Instead, he sought to give it a distinctly Bay Area spin. “It’s like when people talk about sampling Dilla: don’t bite that guy, do something crazy and new if you want to honor dude,” says Johnson.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2573862317/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“The Bay Area has its own style,” says Garcia. “The headiest people could also be the hyphiest people. There’s a soulfulness that’s in everything, no matter what you do. You come up to the Bay for new ideas, so that’s what we’re trying to be, on the forefront of this type of music.”\u003c/p>\n\u003cp>In the beginning, it was hard to get promoters on board with the nebulous nature of Smart Bomb. “We started it out of sheer lack of any kind of consistent gathering for all the artists we hang around with,” Garcia says.\u003c/p>\n\u003cp>Smart Bomb found a home when Legionnaire owner Zack Turner was on the verge of opening his venue and looking to book local talent. The Irish pub and Smart Bomb volume one both debuted in March 2013.\u003c/p>\n\u003cp>“We were kind of on the fringe of everything,” Garcia says. For the first show, which starred his band Secret Sidewalk, whose music plays like a futurist dispatch of samples, synths and saxophones, he called up friends from different geographic and sonic pockets to assemble his “dream team” line-up: funk-oriented Oakland producer SpaceGhost, San Francisco’s Ruff Draft, Puzzle and Secret Sidewalk member Mike Boo.\u003c/p>\n\u003cp>“There was a wealth of talent in our community that never really had a place to shine before,” Garcia says. In the last five years, Smart Bomb has also booked talent from outside the Bay Area (previous names on the bill include introspective rapper/producer Quelle Chris, Watts-born beatmaker Dibia$e and Ras G, an Afrofuturist, free jazz-inspired producer and DJ out of Los Angeles) but their focus remains on Oakland talent, and people have taken notice.\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/PNi_ovN_3CQ'\n title='//www.youtube.com/embed/PNi_ovN_3CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The collective is one of six DJ crews picked to play \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">Red Bull Music’s Oakland showcase\u003c/a> this on July 28. Alongside Club Chai, the B-Side Brujas, Another Party Fam, 45 Sessions and NVR OVR, Smart Bomb will round out a party intended to highlight the underground music scenes that make The Town was it is.\u003c/p>\n\u003cp>“As we [continue to] grow, it’s important to have a balance of shining light on new talent and exposing young people to the legends,” Garcia says. This balance of established local talent and up-and-comers, the crew envisions, is a chance to show greener artists the ropes.\u003c/p>\n\u003cp>“A lot of these young cats, they’re in their bedrooms being creative, they have amazing imaginations but they don’t know nothing about what kind of cables they need or what kind of plugs; they don’t know about how to hold the mic or what kind of mic to use; they don’t show up with anything,” Andrew explains. “It’s our responsibility to game them up.”\u003c/p>\n\u003cp>In that vein, Smart Bomb isn’t another party. It’s a space of discovery, for those on and off stage.\u003c/p>\n\u003cp>“I feel like this place has changed a lot of people’s lives, because it’s such a family oriented place,” says Cinque Mubarak, a photographer in Smart Bomb (the collective has expanded to include other types of artists who share their ethos of standing on the fringes). Before Smart Bomb, Mubarak says he was very reserved, but the monthly event opened up to him a community of artists.\u003c/p>\n\u003cp>“People grow here. They come every month and see familiar faces, especially people who have social anxiety,” Mubarak says. “I’ve seen them grow so much. If you want to be a wallflower, you can be a wallflower.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Smart Bomb crew performs at Red Bull Music’s Oakland showcase on July 28 at Geoffrey’s Inner Circle. Details \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
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