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"content": "\n\u003cp class=\"wp-block-paragraph\">When richie reseda and JJ’88 invited \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani \u003c/a>to do a healing circle inside of a women’s \u003ca href=\"https://www.kqed.org/arts/tag/prison\">prison\u003c/a>, she responded in all caps: “HELL YES.” What they didn’t realize was just how vulnerable and meaningful the visit would be. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">JJ’88 and reseda’s new YouTube series, \u003cem>Live From the Hole\u003c/em>, premiered last week. In the debut episode, Kehlani sits among a circle of incarcerated women contending with childhood trauma, sexual abuse and the circumstances that led to their imprisonment. The Oakland-raised R&B star reveals that her mother was once one of these women, held within the same walls at the California Institute for Women in Chino. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://youtu.be/1V1j9a2vWdk?si=dxcOLmNS3RuVEjSh\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In the episode, Kehlani shares some painful memories from her childhood. Her mom had been in and out of prison since Kehlani was born; while incarcerated, she gave birth to Kehlani’s little brother in shackles. The baby died five days later, and the grief sent her mom into a spiral of addiction that frayed their relationship. Kehlani also opens up about losing her father. After he got out of prison, when Kehlani was a little girl, he died at the hands of a gang he joined behind bars. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Yesterday made me realize how prison shaped my entire world,” Kehlani says after the healing circle. The camera cuts to her taking a moment to herself, rubbing her temples as if processing her pain in real time. “Like, if my dad never goes to prison, he never joins the gang. He never dies. If my mother never goes to prison, she has my brother. I won’t say everything will be perfect, but who knows how different life will be.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In each new episode of \u003cem>Live From the Hole\u003c/em>, JJ’88 and reseda will visit a different prison with an artist whose life has been impacted by incarceration or violence. Together, with people serving sentences on the inside, they’ll have conversations about what healing and forgiveness can look like. The project is an extension of the Emmy-winning 2024 film the two created with director Contessa Gayles, \u003cem>Songs from the Hole\u003c/em>. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">\u003cem>Songs From the Hole\u003c/em> is a documentary about JJ’88’s life before, during and after prison, interstiched with his music videos. He wrote and recorded the songs in the film while incarcerated, and sent Gayles handwritten treatments for the music videos by snail mail. The movie takes a hard look at cycles of violence and offers bold ideas for how to break them. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Raised in a Long Beach neighborhood where gun violence was common, JJ’88 took another young man’s life when he was only 15 years old. Three days later, his brother was murdered in a similar senseless shooting. The documentary tells the story of how, through music and the love of those around him, he changed his life, forgave his brother’s killer and devoted himself to helping shift the conditions that breed violence in the first place.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">JJ’88 and reseda, who produced \u003cem>Songs From the Hole\u003c/em>, met while incarcerated. reseda was also the subject of a documentary Gayles directed in 2018, \u003cem>\u003ca href=\"https://www.cnn.com/videos/us/2018/04/18/the-feminist-on-cellblock-y-doc-orig.cnn\">The Feminist on Cellblock Y\u003c/a>\u003c/em>, about a self-help group he started at Soledad State Prison. The men read feminist literature and worked together to unlearn patriarchal beliefs about violence as a source of strength. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In addition to hosting \u003cem>Live From the Hole\u003c/em> with JJ’88, reseda takes the director’s chair along with Antwan “Banks” Williams. The new series captures some of the 30-plus healing circles he and JJ’88 have held in prisons, using the film as a learning tool. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We can choose healing over existing in trauma, and shoving the worst parts of our lives down, and trying to just get over it and not think about it,” JJ’88 tells KQED in a phone call. “We can process it. We can do it in a creative way. We can do it in a loving and joyous way, and we can do in circles.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">At the center of that practice is a \u003ca href=\"https://docs.google.com/document/d/11B0YktYcZ362e54ztpI0bKCMbXqyHiFcbJjd1lYTX6A/edit?tab=t.0#heading=h.8y0tzo34q7q\">healing plan\u003c/a> he and reseda teach in their workshops, based on restorative justice principles. It calls people to make commitments to their physical, mental and spiritual health, their relationships and their communities. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Throughout my incarceration, the more I declared the positive parts of myself and tried to live into them, my community held me accountable to that,” JJ’88 says. “And that ultimately led to my freedom — and not just my physical freedom, but my spiritual freedom, my mental freedom to understand like, I have autonomy and power in my life to direct it. I’m capable of being who I wanna be, and I get to choose who that is.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">JJ’88 and reseda both practice the healing plan in their own lives. With their work in music, fashion and film through their creative agency, Question Culture, they hope to inspire people to also adopt it. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“You make those commitments and then you ask your closest people to hold you accountable to that,” reseda says. “And you continue to do that forever, as a lifestyle. And it changes accountability from something that happens after something went wrong to something that happens on the front end.”\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">In their view, the healing plan is part of moving away from a domination-based society that relies on prisons to a more care-based way of life where harm is addressed before it happens. They’ve used it during trainings with community groups, including Bay Area organizations such as \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a>, and worked with municipalities, including the Oakland Department of Violence Prevention. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">With \u003cem>Songs from the Hole\u003c/em> streaming on Netflix, and the awards and fanfare for that project now over, \u003cem>Live from the Hole\u003c/em> is a way to continue the conversation around restorative justice; new episodes will be arriving in the coming months. Kehlani and her longtime manager, David Ali, have come on as executive producers for the entire series, with more special guests to come.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Luckily, the people we brought in who have big audiences, they’re really about this work,” reseda says. “And those are the people who we’re looking for, people who are directly impacted by state and community violence, and who are willing to do the vulnerable work of transformation and accountability and integrity.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We can choose healing over existing in trauma, and shoving the worst parts of our lives down, and trying to just get over it and not think about it,” JJ’88 tells KQED in a phone call. “We can process it. We can do it in a creative way. We can do it in a loving and joyous way, and we can do in circles.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Throughout my incarceration, the more I declared the positive parts of myself and tried to live into them, my community held me accountable to that,” JJ’88 says. “And that ultimately led to my freedom — and not just my physical freedom, but my spiritual freedom, my mental freedom to understand like, I have autonomy and power in my life to direct it. I’m capable of being who I wanna be, and I get to choose who that is.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>In their view, the healing plan is part of moving away from a domination-based society that relies on prisons to a more care-based way of life where harm is addressed before it happens. They’ve used it during trainings with community groups, including Bay Area organizations such as \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a>, and worked with municipalities, including the Oakland Department of Violence Prevention. \u003c/p>\n",
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"innerHTML": "\n\u003cp>With \u003cem>Songs from the Hole\u003c/em> streaming on Netflix, and the awards and fanfare for that project now over, \u003cem>Live from the Hole\u003c/em> is a way to continue the conversation around restorative justice; new episodes will be arriving in the coming months. Kehlani and her longtime manager, David Ali, have come on as executive producers for the entire series, with more special guests to come.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Luckily, the people we brought in who have big audiences, they’re really about this work,” reseda says. “And those are the people who we’re looking for, people who are directly impacted by state and community violence, and who are willing to do the vulnerable work of transformation and accountability and integrity.”\u003c/p>\n",
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"excerpt": "The R&B star is executive producing a new series about healing and forgiveness from Emmy-winning filmmakers JJ’88 and richie reseda.",
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"title": "In ‘Live From the Hole,’ Kehlani Visits the Prison Where Her Mom Was Once Incarcerated | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp class=\"wp-block-paragraph\">When richie reseda and JJ’88 invited \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani \u003c/a>to do a healing circle inside of a women’s \u003ca href=\"https://www.kqed.org/arts/tag/prison\">prison\u003c/a>, she responded in all caps: “HELL YES.” What they didn’t realize was just how vulnerable and meaningful the visit would be. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">JJ’88 and reseda’s new YouTube series, \u003cem>Live From the Hole\u003c/em>, premiered last week. In the debut episode, Kehlani sits among a circle of incarcerated women contending with childhood trauma, sexual abuse and the circumstances that led to their imprisonment. The Oakland-raised R&B star reveals that her mother was once one of these women, held within the same walls at the California Institute for Women in Chino. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/1V1j9a2vWdk'\n title='//www.youtube.com/embed/1V1j9a2vWdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In the episode, Kehlani shares some painful memories from her childhood. Her mom had been in and out of prison since Kehlani was born; while incarcerated, she gave birth to Kehlani’s little brother in shackles. The baby died five days later, and the grief sent her mom into a spiral of addiction that frayed their relationship. Kehlani also opens up about losing her father. After he got out of prison, when Kehlani was a little girl, he died at the hands of a gang he joined behind bars. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Yesterday made me realize how prison shaped my entire world,” Kehlani says after the healing circle. The camera cuts to her taking a moment to herself, rubbing her temples as if processing her pain in real time. “Like, if my dad never goes to prison, he never joins the gang. He never dies. If my mother never goes to prison, she has my brother. I won’t say everything will be perfect, but who knows how different life will be.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In each new episode of \u003cem>Live From the Hole\u003c/em>, JJ’88 and reseda will visit a different prison with an artist whose life has been impacted by incarceration or violence. Together, with people serving sentences on the inside, they’ll have conversations about what healing and forgiveness can look like. The project is an extension of the Emmy-winning 2024 film the two created with director Contessa Gayles, \u003cem>Songs from the Hole\u003c/em>. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">\u003cem>Songs From the Hole\u003c/em> is a documentary about JJ’88’s life before, during and after prison, interstiched with his music videos. He wrote and recorded the songs in the film while incarcerated, and sent Gayles handwritten treatments for the music videos by snail mail. The movie takes a hard look at cycles of violence and offers bold ideas for how to break them. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">Raised in a Long Beach neighborhood where gun violence was common, JJ’88 took another young man’s life when he was only 15 years old. Three days later, his brother was murdered in a similar senseless shooting. The documentary tells the story of how, through music and the love of those around him, he changed his life, forgave his brother’s killer and devoted himself to helping shift the conditions that breed violence in the first place.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">JJ’88 and reseda, who produced \u003cem>Songs From the Hole\u003c/em>, met while incarcerated. reseda was also the subject of a documentary Gayles directed in 2018, \u003cem>\u003ca href=\"https://www.cnn.com/videos/us/2018/04/18/the-feminist-on-cellblock-y-doc-orig.cnn\">The Feminist on Cellblock Y\u003c/a>\u003c/em>, about a self-help group he started at Soledad State Prison. The men read feminist literature and worked together to unlearn patriarchal beliefs about violence as a source of strength. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">In addition to hosting \u003cem>Live From the Hole\u003c/em> with JJ’88, reseda takes the director’s chair along with Antwan “Banks” Williams. The new series captures some of the 30-plus healing circles he and JJ’88 have held in prisons, using the film as a learning tool. \u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">“We can choose healing over existing in trauma, and shoving the worst parts of our lives down, and trying to just get over it and not think about it,” JJ’88 tells KQED in a phone call. “We can process it. We can do it in a creative way. We can do it in a loving and joyous way, and we can do in circles.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">At the center of that practice is a \u003ca href=\"https://docs.google.com/document/d/11B0YktYcZ362e54ztpI0bKCMbXqyHiFcbJjd1lYTX6A/edit?tab=t.0#heading=h.8y0tzo34q7q\">healing plan\u003c/a> he and reseda teach in their workshops, based on restorative justice principles. It calls people to make commitments to their physical, mental and spiritual health, their relationships and their communities. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Throughout my incarceration, the more I declared the positive parts of myself and tried to live into them, my community held me accountable to that,” JJ’88 says. “And that ultimately led to my freedom — and not just my physical freedom, but my spiritual freedom, my mental freedom to understand like, I have autonomy and power in my life to direct it. I’m capable of being who I wanna be, and I get to choose who that is.”\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">JJ’88 and reseda both practice the healing plan in their own lives. With their work in music, fashion and film through their creative agency, Question Culture, they hope to inspire people to also adopt it. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“You make those commitments and then you ask your closest people to hold you accountable to that,” reseda says. “And you continue to do that forever, as a lifestyle. And it changes accountability from something that happens after something went wrong to something that happens on the front end.”\u003c/p>\n\n\n\n\n\n\u003cp class=\"wp-block-paragraph\">In their view, the healing plan is part of moving away from a domination-based society that relies on prisons to a more care-based way of life where harm is addressed before it happens. They’ve used it during trainings with community groups, including Bay Area organizations such as \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">CURYJ\u003c/a>, and worked with municipalities, including the Oakland Department of Violence Prevention. \u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">With \u003cem>Songs from the Hole\u003c/em> streaming on Netflix, and the awards and fanfare for that project now over, \u003cem>Live from the Hole\u003c/em> is a way to continue the conversation around restorative justice; new episodes will be arriving in the coming months. Kehlani and her longtime manager, David Ali, have come on as executive producers for the entire series, with more special guests to come.\u003c/p>\n\n\n\n\u003cp class=\"wp-block-paragraph\">“Luckily, the people we brought in who have big audiences, they’re really about this work,” reseda says. “And those are the people who we’re looking for, people who are directly impacted by state and community violence, and who are willing to do the vulnerable work of transformation and accountability and integrity.”\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You would’ve thought \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> was hanging out with 10,000 of her besties from her laid-back, jokey mood at the sold-out Big Game Block Party at San José City Hall on Friday night.\u003c/p>\n\u003cp>“I’m always so grateful to be here when massive events get to happen in the Bay, and all these people come, and we get to host them, and they get to see how magical we are,” the Oakland-raised R&B star said breathlessly after opening her set with seven back-to-back anthems.\u003c/p>\n\u003cp>[aside postid='arts_13986328']With long hair billowing behind her in the heavy fog, Kehlani belted the flirty “Distraction” and cinematic “Gangsta” with supreme breath control, no backing track, while delivering taut, early-2000s-inspired choreo alongside her crew of athletic dancers.\u003c/p>\n\u003cp>“’Cause for so long, only we knew how magical we were,” she continued with a grin amid massive applause. “Now you get these big-ass fuckin’ events, everyone comes here, and we’re like, ‘Yeah, we’re fuckin’ cool, fuck y’all. But welcome!’”\u003c/p>\n\u003cfigure id=\"attachment_13986446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg\" alt=\"large happy crowd\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sings along during Kehlani’s Big Game Block Party at San José City Hall on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repping the Bay during Super Bowl weekend wasn’t the only cause for celebration. Just five days ago, after 10 years of Billboard Hot 100 hits and five previous Grammy nominations, Kehlani finally won not one but two awards for “Folded.” It’s a smart, sexy and highly danceable single where she makes a bid for reconciliation with a love interest by offering to fold her clothes, flipping the old cliche of tossing them out on the lawn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, “Folded” reached No. 6 on Billboard — the biggest hit of Kehlani’s career so far, even after previous collaborations with mega-stars like Cardi B and Justin Bieber. Its organic success arrives after Kehlani went through some notable setbacks: Last year, her criticisms of Israel led several concert promoters to cancel a spate of shows. She received death threats and moved out of her house because of safety concerns, she revealed in a recent \u003ca href=\"https://www.youtube.com/watch?v=zCzlxXLty-o\">Breakfast Club interview\u003c/a>.\u003c/p>\n\u003cp>Kehlani has arrived at a career apex without compromising her values. At last week’s Grammy Awards she implored her fellow artists to speak out against injustice and ended her \u003ca href=\"https://www.billboard.com/music/awards/kehlani-2026-grammys-acceptance-speech-ice-1236169276/\">acceptance speech\u003c/a> for Best R&B Performance with a resounding “fuck ICE.”\u003c/p>\n\u003cfigure id=\"attachment_13986449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg\" alt=\"singer and two dancers on stage with crowd holding phones\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani was fresh off two Grammy wins for ‘Folded’ on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San José, however, Kehlani didn’t get into politics and leaned into the celebratory mood of the Super Bowl, which has Bay Area artists showing out at clubs, concerts and special events in the lead-up to \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a>’s halftime show performance (as well as the face-off between the Seattle Seahawks and New England Patriots).\u003c/p>\n\u003cp>“If y’all see me drunk, don’t say nothin’. It was AI,” she joked as she invited the audience to the afterparty at San Francisco’s 1015 Folsom.\u003c/p>\n\u003cp>After performing an intimate rendition of “Everything,” where she stood at the mic stand and let her voice drip with devotion, Kehlani teased a snippet of an unreleased song from her forthcoming album, another ode to all-consuming love with the refrain, “There’s no such thing as I love you too much.”\u003c/p>\n\u003cfigure id=\"attachment_13986447\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986447\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg\" alt=\"dimly lit performer with mic\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani closed the night with her hit ‘Folded.’ \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the ballad “Out the Window,” whose music video shows Kehlani literally dropping to her knees in the rain, this section of the set highlighted how exquisitely her songwriting conveys the aching feeling of yearning. The thousands-deep crowd of mostly Latinas, Filipinas and Black women in stylish sportswear and Y2K glamour cathartically belted along to the hits and deep cuts alike.\u003c/p>\n\u003cp>[aside postid='arts_13986280']Then came the moment everyone was waiting for. “I won two Grammys for a song that came out two months ago, and I have to say I love you so much,” Kehlani gushed. “This is like a victory lap, and I wanna sing it with you guys.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the opening violin chords played, friends hugged, couples swayed and thousands of phones lit up in the air as the audience erupted into a joyous chorus: “I’ll let your body decide / if this is good enough for ya / already folding it for ya.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With long hair billowing behind her in the heavy fog, Kehlani belted the flirty “Distraction” and cinematic “Gangsta” with supreme breath control, no backing track, while delivering taut, early-2000s-inspired choreo alongside her crew of athletic dancers.\u003c/p>\n\u003cp>“’Cause for so long, only we knew how magical we were,” she continued with a grin amid massive applause. “Now you get these big-ass fuckin’ events, everyone comes here, and we’re like, ‘Yeah, we’re fuckin’ cool, fuck y’all. But welcome!’”\u003c/p>\n\u003cfigure id=\"attachment_13986446\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986446\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg\" alt=\"large happy crowd\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-11_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd sings along during Kehlani’s Big Game Block Party at San José City Hall on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Repping the Bay during Super Bowl weekend wasn’t the only cause for celebration. Just five days ago, after 10 years of Billboard Hot 100 hits and five previous Grammy nominations, Kehlani finally won not one but two awards for “Folded.” It’s a smart, sexy and highly danceable single where she makes a bid for reconciliation with a love interest by offering to fold her clothes, flipping the old cliche of tossing them out on the lawn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, “Folded” reached No. 6 on Billboard — the biggest hit of Kehlani’s career so far, even after previous collaborations with mega-stars like Cardi B and Justin Bieber. Its organic success arrives after Kehlani went through some notable setbacks: Last year, her criticisms of Israel led several concert promoters to cancel a spate of shows. She received death threats and moved out of her house because of safety concerns, she revealed in a recent \u003ca href=\"https://www.youtube.com/watch?v=zCzlxXLty-o\">Breakfast Club interview\u003c/a>.\u003c/p>\n\u003cp>Kehlani has arrived at a career apex without compromising her values. At last week’s Grammy Awards she implored her fellow artists to speak out against injustice and ended her \u003ca href=\"https://www.billboard.com/music/awards/kehlani-2026-grammys-acceptance-speech-ice-1236169276/\">acceptance speech\u003c/a> for Best R&B Performance with a resounding “fuck ICE.”\u003c/p>\n\u003cfigure id=\"attachment_13986449\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986449\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg\" alt=\"singer and two dancers on stage with crowd holding phones\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-29_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani was fresh off two Grammy wins for ‘Folded’ on Feb. 6, 2026. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In San José, however, Kehlani didn’t get into politics and leaned into the celebratory mood of the Super Bowl, which has Bay Area artists showing out at clubs, concerts and special events in the lead-up to \u003ca href=\"https://www.kqed.org/arts/tag/bad-bunny\">Bad Bunny\u003c/a>’s halftime show performance (as well as the face-off between the Seattle Seahawks and New England Patriots).\u003c/p>\n\u003cp>“If y’all see me drunk, don’t say nothin’. It was AI,” she joked as she invited the audience to the afterparty at San Francisco’s 1015 Folsom.\u003c/p>\n\u003cp>After performing an intimate rendition of “Everything,” where she stood at the mic stand and let her voice drip with devotion, Kehlani teased a snippet of an unreleased song from her forthcoming album, another ode to all-consuming love with the refrain, “There’s no such thing as I love you too much.”\u003c/p>\n\u003cfigure id=\"attachment_13986447\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13986447\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg\" alt=\"dimly lit performer with mic\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/260207_KehlaniBlockParty_EDIT-33_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani closed the night with her hit ‘Folded.’ \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the ballad “Out the Window,” whose music video shows Kehlani literally dropping to her knees in the rain, this section of the set highlighted how exquisitely her songwriting conveys the aching feeling of yearning. The thousands-deep crowd of mostly Latinas, Filipinas and Black women in stylish sportswear and Y2K glamour cathartically belted along to the hits and deep cuts alike.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then came the moment everyone was waiting for. “I won two Grammys for a song that came out two months ago, and I have to say I love you so much,” Kehlani gushed. “This is like a victory lap, and I wanna sing it with you guys.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the opening violin chords played, friends hugged, couples swayed and thousands of phones lit up in the air as the audience erupted into a joyous chorus: “I’ll let your body decide / if this is good enough for ya / already folding it for ya.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland-grown queer R&B star \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> just announced that they’re headlining a brand-new Pride festival called \u003ca href=\"https://app.hive.co/contests/contest/27398/spotlight/\">SoSF\u003c/a>, which is coming to San Francisco’s Pier 80 on June 28.\u003c/p>\n\u003cp>Pier 80 is the same industrial location that hosts the massive \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in the fall, so imagine a huge rager with a backdrop of shipping cranes and warehouses festooned with rainbow flags and disco balls.\u003c/p>\n\u003cp>Joining Kehlani in the lineup is German pop star Kim Petras, who recently made history as the first trans singer with a No. 1 single on the Billboard Hot 100 with her feature on Sam Smith’s “Unholy.” “Nasty” hitmaker Tinashe and reality TV-star-turned-singer Heidi Montag, who recently headlined the San Francisco party Fake and Gay, are also on the bill, along with rapper FineAss Lanecia. [aside postid='news_12031588']\u003c/p>\n\u003cp>Fake and Gay’s founder Adam Kraft will spin at SoSF, along with DJs Tinzo + Jojo and Noodles (who is Kehlani’s tour DJ). Local staples San Francisco Gay Men’s Chorus and Nicki Jizz’s drag show Reparations will also grace the stage.\u003c/p>\n\u003cp>Organized by Kehlani, the Midway, Non Plus Ultra and XOXO, SoSF arrives during a challenging time for the LGBTQ+ community. With a presidential administration that’s openly hostile to trans people and diversity efforts, San Francisco Pride is struggling to find corporate sponsors for this year’s festival and parade. And while celebrating might not be top of mind for many at a time when trans civil rights are under attack, the LGBTQ+ community has a long history of using the dance floor as a place to connect and gather strength in difficult moments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SoSF is a party with a purpose: a portion of the proceeds from the event will benefit Lyric Center for LGBTQQ+ Youth, which provides educational, health, job and housing services to vulnerable young people.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://app.hive.co/contests/contest/27398/spotlight/\">Presale tickets\u003c/a> for SoSF go on sale on April 9 at 10 a.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-grown queer R&B star \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> just announced that they’re headlining a brand-new Pride festival called \u003ca href=\"https://app.hive.co/contests/contest/27398/spotlight/\">SoSF\u003c/a>, which is coming to San Francisco’s Pier 80 on June 28.\u003c/p>\n\u003cp>Pier 80 is the same industrial location that hosts the massive \u003ca href=\"https://www.kqed.org/arts/tag/portola-festival\">Portola Festival\u003c/a> in the fall, so imagine a huge rager with a backdrop of shipping cranes and warehouses festooned with rainbow flags and disco balls.\u003c/p>\n\u003cp>Joining Kehlani in the lineup is German pop star Kim Petras, who recently made history as the first trans singer with a No. 1 single on the Billboard Hot 100 with her feature on Sam Smith’s “Unholy.” “Nasty” hitmaker Tinashe and reality TV-star-turned-singer Heidi Montag, who recently headlined the San Francisco party Fake and Gay, are also on the bill, along with rapper FineAss Lanecia. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fake and Gay’s founder Adam Kraft will spin at SoSF, along with DJs Tinzo + Jojo and Noodles (who is Kehlani’s tour DJ). Local staples San Francisco Gay Men’s Chorus and Nicki Jizz’s drag show Reparations will also grace the stage.\u003c/p>\n\u003cp>Organized by Kehlani, the Midway, Non Plus Ultra and XOXO, SoSF arrives during a challenging time for the LGBTQ+ community. With a presidential administration that’s openly hostile to trans people and diversity efforts, San Francisco Pride is struggling to find corporate sponsors for this year’s festival and parade. And while celebrating might not be top of mind for many at a time when trans civil rights are under attack, the LGBTQ+ community has a long history of using the dance floor as a place to connect and gather strength in difficult moments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SoSF is a party with a purpose: a portion of the proceeds from the event will benefit Lyric Center for LGBTQQ+ Youth, which provides educational, health, job and housing services to vulnerable young people.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://app.hive.co/contests/contest/27398/spotlight/\">Presale tickets\u003c/a> for SoSF go on sale on April 9 at 10 a.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>While recording \u003cem>Crash\u003c/em>, \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.kqed.org/arts/tag/kehlani\" data-gtm-enhancement-style=\"LinkEnhancementA\">Kehlani\u003c/a>\u003c/span> faced a career-defining decision: Stick with the familiar R&B sound that helped build the singer’s name, or risk it all to showcase their full artistic range.\u003c/p>\n\u003cp>For Kehlani, who uses she/they pronouns, choosing the latter was a gamble, but trusting their instincts paid off in the long run. Their fourth studio album became a catalyst to earning Grammy nods, a massive world tour and proving that their versatility should never be in question.\u003c/p>\n\u003cp>“I was taking a risk, because I’m one of those artists that have been around long enough for people to pigeonhole me into a sound,” said Kehlani, who first realized she was being cornered musically after releasing the single “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.youtube.com/watch?v=x1XAW0CmViE\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">Butterfly\u003c/a>\u003c/span>” from their 2019 mixtape “While We Wait.” Though she loved the track, calling it a “really pretty song,” she felt a growing need to break out of the box and evolve their sound.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13967900,arts_13968679']\u003c/span>Kehlani pushed genre boundaries on \u003cem>Crash\u003c/em>, blending elements of R&B, rock, dance floor, rap and country. Their bold experimentation earned \u003ca href=\"https://www.kqed.org/arts/13967900/bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani\">three Grammy nominations\u003c/a>: best R&B progressive album for \u003cem>Crash\u003c/em>, R&B song through the viral sensation track “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://youtu.be/6qatTTscK4c?si=TcoKkTI5BRGoag4f\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">After Hours\u003c/a>\u003c/span>” and best melodic rap performance for “Kehlani.”\u003c/p>\n\u003cp>In a recent interview with The Associated Press, Kehlani discussed crediting the dance community for “After Hours” going viral, how their pro-Palestinian stance impacted them personally, their Christmas \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/article/glorilla-ap-breakthrough-entertainers-2024-d48e9effb27d6b3659d1704d0a9ec2b2\" data-gtm-enhancement-style=\"LinkEnhancementA\">song with GloRilla\u003c/a>\u003c/span>, and how embracing a rock star persona for \u003cem>Crash\u003c/em> challenged their health but unlocked a creative breakthrough for the album.\u003c/p>\n\u003ch2>Exploring Kehlani’s various musical reflections\u003c/h2>\n\u003cp>Kehlani’s music mirrors their mental state. While recording \u003cem>Crash\u003c/em>, she fully embraced a rock star lifestyle, staying up all night and drinking alcohol. It certainly wasn’t conducive for their health, but at times, this led to some intense, manic bursts of “expression and understanding,” which defined the album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s what I think had to come out of me in order for \u003cem>Crash\u003c/em> to come out of me in that way,” said Kehlani, who noted that all the “chaos” delivered on the album wasn’t always negative. She recorded songs in different Airbnb locations including from a house in San Diego, where she could surf every day; found their grunge sound while going out in Harlem; and exuded their confidence while she laid down tracks on vacation in the Dominican Republic.\u003c/p>\n\u003cp>“It was a rock star album made in a very rock star process,” said Kehlani, whose approach was completely different than their 2022 release “Blue Water Road,” where she was focused more on meditation, leaving them in a spiritually grounded space.\u003c/p>\n\u003cp>These days, Kehlani has found middle ground through isolation and a healthier lifestyle. She now works out like a “ninja warrior,” hitting the gym multiple times a day, doing yoga and hiking up mountains and incorporating healthier eating habits.\u003c/p>\n\u003cp>That helped Kehlani create the mixtape \u003cem>While We Wait 2\u003c/em>, which released a couple months after \u003cem>Crash\u003c/em>. It took only two weeks to record their latest mixtape inside their backyard house while wearing pajamas.\u003c/p>\n\u003cp>“The music I make will always reflect exactly where I’m at in my mental health journey,” she said.\u003c/p>\n\u003ch2>Dance community contributes to Kehlani’s viral song\u003c/h2>\n\u003cp>Kehlani credits the massive success of “After Hours” to the dance community on social media, thanks to Darius Hickman, who was behind the infectious dance challenge.\u003c/p>\n\u003cp>The singer said musicians owe gratitude to dancers like Hickman, \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.tiktok.com/@dariusduhhh/video/7363843216971697454?_t=ZP-8sLxWP9H02x&_r=1\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">whose video post earlier this year garnered more than 3.3 million views on TikTok\u003c/a>\u003c/span>. The post showed Hickman dancing to the intro of “After Hours.”\u003c/p>\n\u003cp>“Dancers are like the new DJs,” she said. “They are breaking songs.”\u003c/p>\n\u003cp>Kehlani often shows their gratitude to the many who looped “After Hours” into their dance videos. She tagged Hickman on their own social media, accepting the dance challenge.\u003c/p>\n\u003cp>“It just feels good and it brings people together,” she said. “So when I noticed that it was actually doing it in real time, I was like, ‘OK, it’s beyond me now.’ I really owe it to the dancers really.”\u003c/p>\n\u003ch2>Kehlani and GloRilla bring holiday cheer with a trap music twist\u003c/h2>\n\u003cp>Kehlani dabbled in Christmas music nearly a decade ago with a few low-key SoundCloud tracks. But this year, she’s giving the holidays a bold new twist by collaborating with rapper GloRilla on “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.youtube.com/watch?v=y4yw09LS_oU\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">Xmas Time\u003c/a>\u003c/span>,” which flips the script on traditional carols.\u003c/p>\n\u003cp>“I never imagined I’d be on a trap Christmas song,” said Kehlani, who noted that she didn’t think twice when GloRilla’s team reached out about teaming up on the festive, bass-thumping track that released last week.\u003c/p>\n\u003cp>“I’m such a fan of GloRilla in any shape, way or form,” she said. “She could’ve said she was making an Easter song and I would’ve been like ‘Fantastic. Girl, let’s do it.’”\u003c/p>\n\u003ch2>How Kehlani managed mental health while being a Palestinian supporter\u003c/h2>\n\u003cp>Despite warnings to protect their career, Kehlani used their music and platform to boldly support Palestinians, marching alongside thousands at a \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.instagram.com/reel/CybHgVDOiPi/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">pro-Palestinian rally in Los Angeles\u003c/a>\u003c/span> last year.\u003c/p>\n\u003cp>The singer inspired followers to rally behind the cause, but the weight of activism took a quiet toll on their mental health and livelihood.\u003c/p>\n\u003cp>“The hardest part of it for me was I had to maintain my sanity,” said Kehlani, who this year released the “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.youtube.com/watch?v=MpI7ekFG8A0\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">Next 2 U\u003c/a>\u003c/span>” music video. (The video opens with a poem by a Palestinian American writer, and Kehlani performs in front of a Palestinian flag.) Kehlani said she struggled with keeping tabs on the war in Gaza and watching friends struggle with depression because of them “bearing witness to a genocide.”\u003c/p>\n\u003cp>“In a whole new scope of ‘Wow, my safety, my livelihood, my career, how I take care of myself, how I take care of my family, how I feed my child,’ All of this is endangered,” she said. “For a while, I felt like I was alone. … I had community leaders. I had activists. But I didn’t have another person in my world that I could be like ’What happens when you get threatened at this rate?’ Everything could crash and burn because you’re just being a person.”\u003c/p>\n\u003cp>Still, Kehlani stands firm in their beliefs, hoping to inspire others — including fellow artists and entertainers — to speak out fearlessly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If the Grammy nominations validate anything, I hope people see that we shouldn’t be scared to speak about anything that (could be) threatening to our careers,” she said. “I still went on a tour. … post speaking up for Palestine. If all of us had stuck together, who knows what kind of further change could happen.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While recording \u003cem>Crash\u003c/em>, \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.kqed.org/arts/tag/kehlani\" data-gtm-enhancement-style=\"LinkEnhancementA\">Kehlani\u003c/a>\u003c/span> faced a career-defining decision: Stick with the familiar R&B sound that helped build the singer’s name, or risk it all to showcase their full artistic range.\u003c/p>\n\u003cp>For Kehlani, who uses she/they pronouns, choosing the latter was a gamble, but trusting their instincts paid off in the long run. Their fourth studio album became a catalyst to earning Grammy nods, a massive world tour and proving that their versatility should never be in question.\u003c/p>\n\u003cp>“I was taking a risk, because I’m one of those artists that have been around long enough for people to pigeonhole me into a sound,” said Kehlani, who first realized she was being cornered musically after releasing the single “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.youtube.com/watch?v=x1XAW0CmViE\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">Butterfly\u003c/a>\u003c/span>” from their 2019 mixtape “While We Wait.” Though she loved the track, calling it a “really pretty song,” she felt a growing need to break out of the box and evolve their sound.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Kehlani pushed genre boundaries on \u003cem>Crash\u003c/em>, blending elements of R&B, rock, dance floor, rap and country. Their bold experimentation earned \u003ca href=\"https://www.kqed.org/arts/13967900/bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani\">three Grammy nominations\u003c/a>: best R&B progressive album for \u003cem>Crash\u003c/em>, R&B song through the viral sensation track “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://youtu.be/6qatTTscK4c?si=TcoKkTI5BRGoag4f\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">After Hours\u003c/a>\u003c/span>” and best melodic rap performance for “Kehlani.”\u003c/p>\n\u003cp>In a recent interview with The Associated Press, Kehlani discussed crediting the dance community for “After Hours” going viral, how their pro-Palestinian stance impacted them personally, their Christmas \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://apnews.com/article/glorilla-ap-breakthrough-entertainers-2024-d48e9effb27d6b3659d1704d0a9ec2b2\" data-gtm-enhancement-style=\"LinkEnhancementA\">song with GloRilla\u003c/a>\u003c/span>, and how embracing a rock star persona for \u003cem>Crash\u003c/em> challenged their health but unlocked a creative breakthrough for the album.\u003c/p>\n\u003ch2>Exploring Kehlani’s various musical reflections\u003c/h2>\n\u003cp>Kehlani’s music mirrors their mental state. While recording \u003cem>Crash\u003c/em>, she fully embraced a rock star lifestyle, staying up all night and drinking alcohol. It certainly wasn’t conducive for their health, but at times, this led to some intense, manic bursts of “expression and understanding,” which defined the album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what I think had to come out of me in order for \u003cem>Crash\u003c/em> to come out of me in that way,” said Kehlani, who noted that all the “chaos” delivered on the album wasn’t always negative. She recorded songs in different Airbnb locations including from a house in San Diego, where she could surf every day; found their grunge sound while going out in Harlem; and exuded their confidence while she laid down tracks on vacation in the Dominican Republic.\u003c/p>\n\u003cp>“It was a rock star album made in a very rock star process,” said Kehlani, whose approach was completely different than their 2022 release “Blue Water Road,” where she was focused more on meditation, leaving them in a spiritually grounded space.\u003c/p>\n\u003cp>These days, Kehlani has found middle ground through isolation and a healthier lifestyle. She now works out like a “ninja warrior,” hitting the gym multiple times a day, doing yoga and hiking up mountains and incorporating healthier eating habits.\u003c/p>\n\u003cp>That helped Kehlani create the mixtape \u003cem>While We Wait 2\u003c/em>, which released a couple months after \u003cem>Crash\u003c/em>. It took only two weeks to record their latest mixtape inside their backyard house while wearing pajamas.\u003c/p>\n\u003cp>“The music I make will always reflect exactly where I’m at in my mental health journey,” she said.\u003c/p>\n\u003ch2>Dance community contributes to Kehlani’s viral song\u003c/h2>\n\u003cp>Kehlani credits the massive success of “After Hours” to the dance community on social media, thanks to Darius Hickman, who was behind the infectious dance challenge.\u003c/p>\n\u003cp>The singer said musicians owe gratitude to dancers like Hickman, \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.tiktok.com/@dariusduhhh/video/7363843216971697454?_t=ZP-8sLxWP9H02x&_r=1\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">whose video post earlier this year garnered more than 3.3 million views on TikTok\u003c/a>\u003c/span>. The post showed Hickman dancing to the intro of “After Hours.”\u003c/p>\n\u003cp>“Dancers are like the new DJs,” she said. “They are breaking songs.”\u003c/p>\n\u003cp>Kehlani often shows their gratitude to the many who looped “After Hours” into their dance videos. She tagged Hickman on their own social media, accepting the dance challenge.\u003c/p>\n\u003cp>“It just feels good and it brings people together,” she said. “So when I noticed that it was actually doing it in real time, I was like, ‘OK, it’s beyond me now.’ I really owe it to the dancers really.”\u003c/p>\n\u003ch2>Kehlani and GloRilla bring holiday cheer with a trap music twist\u003c/h2>\n\u003cp>Kehlani dabbled in Christmas music nearly a decade ago with a few low-key SoundCloud tracks. But this year, she’s giving the holidays a bold new twist by collaborating with rapper GloRilla on “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.youtube.com/watch?v=y4yw09LS_oU\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">Xmas Time\u003c/a>\u003c/span>,” which flips the script on traditional carols.\u003c/p>\n\u003cp>“I never imagined I’d be on a trap Christmas song,” said Kehlani, who noted that she didn’t think twice when GloRilla’s team reached out about teaming up on the festive, bass-thumping track that released last week.\u003c/p>\n\u003cp>“I’m such a fan of GloRilla in any shape, way or form,” she said. “She could’ve said she was making an Easter song and I would’ve been like ‘Fantastic. Girl, let’s do it.’”\u003c/p>\n\u003ch2>How Kehlani managed mental health while being a Palestinian supporter\u003c/h2>\n\u003cp>Despite warnings to protect their career, Kehlani used their music and platform to boldly support Palestinians, marching alongside thousands at a \u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.instagram.com/reel/CybHgVDOiPi/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">pro-Palestinian rally in Los Angeles\u003c/a>\u003c/span> last year.\u003c/p>\n\u003cp>The singer inspired followers to rally behind the cause, but the weight of activism took a quiet toll on their mental health and livelihood.\u003c/p>\n\u003cp>“The hardest part of it for me was I had to maintain my sanity,” said Kehlani, who this year released the “\u003cspan class=\"LinkEnhancement\">\u003ca class=\"Link AnClick-LinkEnhancement\" href=\"https://www.youtube.com/watch?v=MpI7ekFG8A0\" target=\"_blank\" rel=\"noopener\" data-gtm-enhancement-style=\"LinkEnhancementA\">Next 2 U\u003c/a>\u003c/span>” music video. (The video opens with a poem by a Palestinian American writer, and Kehlani performs in front of a Palestinian flag.) Kehlani said she struggled with keeping tabs on the war in Gaza and watching friends struggle with depression because of them “bearing witness to a genocide.”\u003c/p>\n\u003cp>“In a whole new scope of ‘Wow, my safety, my livelihood, my career, how I take care of myself, how I take care of my family, how I feed my child,’ All of this is endangered,” she said. “For a while, I felt like I was alone. … I had community leaders. I had activists. But I didn’t have another person in my world that I could be like ’What happens when you get threatened at this rate?’ Everything could crash and burn because you’re just being a person.”\u003c/p>\n\u003cp>Still, Kehlani stands firm in their beliefs, hoping to inspire others — including fellow artists and entertainers — to speak out fearlessly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If the Grammy nominations validate anything, I hope people see that we shouldn’t be scared to speak about anything that (could be) threatening to our careers,” she said. “I still went on a tour. … post speaking up for Palestine. If all of us had stuck together, who knows what kind of further change could happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
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"headTitle": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
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"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Kehlani’s ‘CRASH’ Tour Lands at SF’s Chase Center",
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"content": "\u003cp>Kehlani is having a huge year. The Oakland R&B star’s new hit, “\u003ca href=\"https://youtu.be/6qatTTscK4c?si=gKn7MkVc_Rmlxc7i\">After Hours\u003c/a>,” has an irresistible dancehall pulse that’s been fueling steamy moments at clubs and day parties all summer. And her new album \u003cem>CRASH\u003c/em> explores the many shades of love, lust and desire, with unexpected experiments (like a Jill Scott and Young Miko pairing on the dripping wet “\u003ca href=\"https://youtu.be/xoIkT0252vQ?si=OXQMfmCkGkPyNU9T\">Sucia\u003c/a>”) that stick the landing.\u003c/p>\n\u003cp>Kehlani is taking \u003cem>CRASH\u003c/em> on the road this summer with an arena tour that kicks off in Minneapolis on Sept. 4, and concludes with a hometown show at San Francisco’s Chase Center on Nov. 2. Joining Kehlani are UK girl group \u003ca href=\"https://youtu.be/NQT7eAKDbNk?si=zG4_Mu7bEOw36Hkc\">FLO\u003c/a> and rising Atlanta rapper \u003ca href=\"https://youtu.be/0MedMI2RKt8?si=r5bAztpLDsCTyU52\">Anycia\u003c/a>.\u003c/p>\n\u003cp>Tickets go on sale to the general public this Friday, July 26 at 10 a.m. But there are a \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">few ways to get your hands on them early\u003c/a>.\u003c/p>\n\u003cp>The first is a Citi card presale that begins July 23 at 2 p.m. local time through the Citi Entertainment program. An artist presale starts 10 a.m. on July 24 with the password “24CRASH.” The Bay’s own \u003ca href=\"https://apeconcerts.com/events/kehlani-241102/\">Another Planet Entertainment\u003c/a>, which is co-producing the event, has a presale at the same time with the password “tears.”\u003c/p>\n\u003cp>Ticketmaster and Live Nation both have presales that begin July 25 at 10 a.m.; if you use their services, check your account for details. Spotify, Bandsintown and GSW Dub Club also have presales at that time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once you have your presale code and are good to go, all tickets can be found \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">on Ticketmaster\u003c/a>. They suggest signing into your account 10 minutes early.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>CRASH\u003c/em> sees Kehlani elevating to new artistic heights. It’s queer yet universal, with a palpable confidence that reflects the singer’s vulnerability and outspokenness. (Off the mic, Kehlani has been \u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/kehlani-stands-palestinians-newest-music-video-rcna155091\">advocating for Palestinians\u003c/a> while most of the music industry stays silent.) We can expect to see more of that bold vision when they take center stage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani is having a huge year. The Oakland R&B star’s new hit, “\u003ca href=\"https://youtu.be/6qatTTscK4c?si=gKn7MkVc_Rmlxc7i\">After Hours\u003c/a>,” has an irresistible dancehall pulse that’s been fueling steamy moments at clubs and day parties all summer. And her new album \u003cem>CRASH\u003c/em> explores the many shades of love, lust and desire, with unexpected experiments (like a Jill Scott and Young Miko pairing on the dripping wet “\u003ca href=\"https://youtu.be/xoIkT0252vQ?si=OXQMfmCkGkPyNU9T\">Sucia\u003c/a>”) that stick the landing.\u003c/p>\n\u003cp>Kehlani is taking \u003cem>CRASH\u003c/em> on the road this summer with an arena tour that kicks off in Minneapolis on Sept. 4, and concludes with a hometown show at San Francisco’s Chase Center on Nov. 2. Joining Kehlani are UK girl group \u003ca href=\"https://youtu.be/NQT7eAKDbNk?si=zG4_Mu7bEOw36Hkc\">FLO\u003c/a> and rising Atlanta rapper \u003ca href=\"https://youtu.be/0MedMI2RKt8?si=r5bAztpLDsCTyU52\">Anycia\u003c/a>.\u003c/p>\n\u003cp>Tickets go on sale to the general public this Friday, July 26 at 10 a.m. But there are a \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">few ways to get your hands on them early\u003c/a>.\u003c/p>\n\u003cp>The first is a Citi card presale that begins July 23 at 2 p.m. local time through the Citi Entertainment program. An artist presale starts 10 a.m. on July 24 with the password “24CRASH.” The Bay’s own \u003ca href=\"https://apeconcerts.com/events/kehlani-241102/\">Another Planet Entertainment\u003c/a>, which is co-producing the event, has a presale at the same time with the password “tears.”\u003c/p>\n\u003cp>Ticketmaster and Live Nation both have presales that begin July 25 at 10 a.m.; if you use their services, check your account for details. Spotify, Bandsintown and GSW Dub Club also have presales at that time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once you have your presale code and are good to go, all tickets can be found \u003ca href=\"https://www.ticketmaster.com/kehlani-crash-world-tour-san-francisco-california-11-02-2024/event/1C0060F2AE923264\">on Ticketmaster\u003c/a>. They suggest signing into your account 10 minutes early.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>CRASH\u003c/em> sees Kehlani elevating to new artistic heights. It’s queer yet universal, with a palpable confidence that reflects the singer’s vulnerability and outspokenness. (Off the mic, Kehlani has been \u003ca href=\"https://www.nbcnews.com/pop-culture/pop-culture-news/kehlani-stands-palestinians-newest-music-video-rcna155091\">advocating for Palestinians\u003c/a> while most of the music industry stays silent.) We can expect to see more of that bold vision when they take center stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kehlani, E-40, P-Lo to Celebrate Golden State Valkyries at SF Block Party",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790376816840146993\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/wnbagoldenstate/status/1790360287725674855\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the WNBA announced that the Bay Area would receive an expansion team last October, fans have clamored with excitement and speculation around what the team’s name would be. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Tuesday, May 14, \u003c/span>\u003cspan style=\"font-weight: 400\">the franchise’s identity was finally revealed\u003c/span>\u003cspan style=\"font-weight: 400\">: the Golden State Valkyries. One team representative described it as being “Warriors-inspired… \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790392163722772790\">a host of women warriors\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fittingly, \u003c/span>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003cspan style=\"font-weight: 400\">the team will be hosting a block party in front of Chase Center\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. with appearances from Kehlani, P-Lo and E-40. Team merchandise will already be available for the earliest diehard fans, as the Valkyries aren’t slated to play their first game until the 2025 season.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790376816840146993\">The Valkyries logo is minimalistic and clean\u003c/a>, with a violet crest anchored by the central tower of the Bay Bridge that flows into a winged V-shaped symbol. The bridge’s cables double as reinforced wings spreading outwards, and \u003ca href=\"https://www.wnba.com/news/gs-valkyries-2025-identity\">the five spaces on each side represent a total of ten players facing off\u003c/a> against each other.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The announcement was made at 5:30 a.m., later accompanied by \u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790360287725674855\">a Kehlani-narrated video\u003c/a> — in which a camera flies over the Bay and into San Francisco’s streets with the sound of wings flapping in the background, alluding to the flying Nordic warrior that is the Valkyries’ namesake.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“This is where legends take flight,” says Kehlani, the Oakland singer whose early mixtapes \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cloud 19 \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">You Should Be Here\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> evoke a similar vibe of high-flying, pink-clouded views overlooking San Francisco’s mighty skyline. “Our story has yet to be written,” she tells fans.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite its recent growth in popularity, the WNBA hasn’t added a team since 2008, so anticipation has been high. (Team owner Joe Lacob previously invested in women’s basketball with the short-lived San Jose Lasers in 1996, as part of the now-defunct American Basketball League.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Responses to the Valkyries’ name and logo seem to be overwhelmingly positive up to this point. Warriors players \u003c/span>\u003ca href=\"https://x.com/warriors/status/1790426521858937324\">\u003cspan style=\"font-weight: 400\">Kevon Looney and Trayce Jackson-Davis were shown repping their counterparts’ shirts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Chase Center, where the Valkyries will also play. Warriors head coach \u003c/span>\u003ca href=\"https://twitter.com/warriors/status/1790472288066011379\">\u003cspan style=\"font-weight: 400\">Steve Kerr has also been spotted in the Dub’s practice facility rocking a Vs crewneck\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790402511368769841\">\u003cspan style=\"font-weight: 400\">San Francisco-born Olympian and freestyle skier Eileen Gu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> shared a message for fans. \u003c/span>\u003ca href=\"https://twitter.com/Caltrain/status/1790396659945587148\">\u003cspan style=\"font-weight: 400\">Caltrain tweeted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about going to Chase Center to watch the new team. Robin Roberts, who covered \u003c/span>\u003ca href=\"https://twitter.com/RobinRoberts/status/1790350094463803854\">\u003cspan style=\"font-weight: 400\">the WNBA’s inaugural season in 1997\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, held up a\u003c/span>\u003ca href=\"https://twitter.com/wnbagoldenstate/status/1790382211965075680\">\u003cspan style=\"font-weight: 400\"> a Valkyries sweatshirt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on \u003cem>Good Morning America\u003c/em> after interviewing team president Jess Smith. And \u003c/span>\u003ca href=\"https://wnbastore.nba.com/golden-state-valkyries/unisex-golden-state-valkyries-playa-society-eclipse-black-premium-t-shirt/t-24961574+p-574467284513361+z-9-1951373147\">\u003cspan style=\"font-weight: 400\">Playa Society, a niche, independent clothing brand focused on the WNBA\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that has earned respect within the women’s basketball community, has already released their debut Valkyries merch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The few criticisms have come from a handful of fans who’ve pointed out that the Valkyries’ purple and black color scheme is weirdly reminiscent of the nearby Sacramento Kings, rather than the blue and yellow of the Golden State Warriors. Another commenter also made a reference to the Dallas Wings, an WNBA team that features a mythological winged logo that appears to be Pegasus. But the detractors are far and few between.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only remaining element is to add worthy players to their roster and watch them ball out on the hardwood. With one of the highest picks in the upcoming draft to be awarded to Golden State, many fans are hoping that \u003c/span>\u003ca href=\"https://www.instagram.com/paigebueckers/?hl=en\">\u003cspan style=\"font-weight: 400\">University of Connecticut star Paige Bueckers\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> will land in the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As soon the Valkyries announced their name and logo, the young WNBA prospect declared that Golden State has \u003c/span>\u003ca href=\"https://twitter.com/paigebueckers1/status/1790410960886227152?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1790410960886227152%7Ctwgr%5E627c58dfb108a876f19909da1dc59f6ae19728c0%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.nbcsportsbayarea.com%2Fwnba%2Fpaige-bueckers-valkyries-design-color%2F1734864%2F\">\u003cspan style=\"font-weight: 400\">the “prettiest colorway ever.”\u003c/span>\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003c/i>\u003ca href=\"https://twitter.com/itszenakeita/status/1790439492991529276\">\u003ci>\u003cspan style=\"font-weight: 400\">Golden State Valkyries will host a block party at Chase Center’s Thrive City\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> on Saturday, May 18, from 2-6 p.m. Free admission.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt",
"title": "Tributes to Angus Cloud Pour in From Oakland",
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"headTitle": "Tributes to Angus Cloud Pour in From Oakland | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands",
"headTitle": "PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands | KQED",
"content": "\u003cp>Outside Lands ended on a particularly festive note on Halloween, which brought the most people out of the three days, the majority of them in costume. A group of guys wore bowties and diapers in what I gathered was a “man baby” costume. A couple dressed as a lit-up Golden Gate Bridge complete with tulle fog. There was an AOC in a “Tax the Rich” dress from the Met Gala, some KISS members, obligatory \u003ci>Squid Game\u003c/i> contestants in tracksuits, space cowboys and many different kinds of aliens.[aside postid='arts_13905544']\u003c/p>\n\u003cp>The scene was as close as a mainstream festival gets to what people imagine when they think of San Franciscans letting their freak flags fly and setting aside differences to have fun. These are the musical acts that stood out on the final day of the festival’s pandemic-era return.\u003c/p>\n\u003cfigure id=\"attachment_13905598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kehlani plays an intimate hometown show\u003c/h2>\n\u003cp>Most people packed out the Lands End stage to see headliner Tame Impala, who sounded great but projected such distorted, trippy visuals that it was impossible to see what was happening on stage unless you decided to brave the crowds and get up close. The vibe at Kehlani’s Sutro Stage set at the same time was much more intimate, and she embraced it. “I know y’all came to a festival to dance and be crazy and mosh pit, but you know I make love songs,” she told the audience, which contained a notable number of couples in embrace. They began to sway when Kehlani sang the opening bars of the syrupy R&B track “Hate the Club.” \u003c/p>\n\u003cp>The Oakland native interspersed more recent radio singles like “Nights Like This” and “Ring,” her track with Cardi B, with earlier work that put her on the map. Tracks like “Distraction” and “CRZY” got big cheers from her hometown fans, many of whom have followed her since before her mixtape era. Kehlani performed with a full band, but rather than wow us with huge crescendos and guitar solos, they let her singularly warm voice be the star. The down-to-earth approach worked well, especially for the tender, queer love song “Honey,” which she introduced, in true Town fashion, by yelling “Where my gay bitches at?!”\u003c/p>\n\u003cfigure id=\"attachment_13905621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Egyptian Lover performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Egyptian Lover works his vinyl wizardry\u003c/h2>\n\u003cp>[aside postid='arts_13905536']A DJ set from Egyptian Lover, an elder statesman of the first pillar of hip-hop, made a trip to the House by Heineken tent worth it, even if it meant missing the action on the big music stages. At his concerts, Egyptian Lover typically raps live and does tricks on his 808, but at Outside Lands he let the ones and twos do the talking. He spun b-boy classics from the electrofunk era he came up in, like “Planet Rock” and “Rock It, Don’t Stop It.” But he never played them straight, scratching, fading vocals in and out and creating a sonic collage by putting the needle to the groove. The 50 person or so audience was dancing it out—someone dressed as Mrs. Doubtfire was shaking their butt pads, a \u003ci>Squid Game\u003c/i> guy was doing the most and another person twerked so hard they slipped in the mud.\u003c/p>\n\u003cfigure id=\"attachment_13905593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burna Boy performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burna Boy leaves a powerful message\u003c/h2>\n\u003cp>The mood was sunny during Burna Boy’s set at the Twin Peaks stage, where he performed with a full band that got the crowd winding their hips to Afrobeats. The guitarist played breezy melodies; the horns ushered in a celebratory atmosphere. Thunderous drums added gravitas as the Nigerian superstar sang in his big, booming voice, and rapped on tracks that shared a vernacular with American hip-hop. Within the uptempo set, some songs in Burna Boy’s catalogue introduced a darker edge. “20 10 20,” a song he wrote in response to \u003ca href=\"https://www.kqed.org/arts/13888379/oakland-artists-join-nigerias-endsars-movement-against-police-violence-from-afar\" rel=\"noopener noreferrer\" target=\"_blank\">Nigeria’s movement against corruption and police brutality\u003c/a>, marked an especially powerful moment as visuals depicting the country’s colonial history flashed on-screen. “Put one fist up and pump that shit because this is protest music,” Burna Boy said. \u003c/p>\n\u003cfigure id=\"attachment_13905589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Howard performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brittany Howard’s sunset groove\u003c/h2>\n\u003cp>Outside Lands felt like \u003ca href=\"https://www.npr.org/2021/07/01/1010306918/summer-of-soul-questlove-movie-review-harlem-cultural-festival\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Summer of Soul\u003c/em>\u003c/a> during Brittany Howard’s set, which took place at Lands End during the golden hour. Even though Howard performed on the big stage, she managed to convey the relaxed atmosphere of a block party. She and her band took their time to settle into the groove of each track, weaving together elements of R&B, funk and blues as the audience two-stepped along. Howard belted in her low alto, let out high notes in a falsetto and shouted impassioned ad libs in the vein of James Brown as gospel-style backup singers supported her with an angelic chorus. She ended the set with the uplifting track “Give It To Love,” a manifesto about kindness and connection that I’m pretty sure inspired everyone in the audience to do at least one good deed as they continued their day. \u003c/p>\n\u003cfigure id=\"attachment_13905596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">mxmtoon performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yves Tumor and Its Band perform at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofi Tukker backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Halloween saw the biggest crowds and lots of costumes on the final day of Outside Lands.",
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"title": "PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands | KQED",
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"headline": "PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside Lands ended on a particularly festive note on Halloween, which brought the most people out of the three days, the majority of them in costume. A group of guys wore bowties and diapers in what I gathered was a “man baby” costume. A couple dressed as a lit-up Golden Gate Bridge complete with tulle fog. There was an AOC in a “Tax the Rich” dress from the Met Gala, some KISS members, obligatory \u003ci>Squid Game\u003c/i> contestants in tracksuits, space cowboys and many different kinds of aliens.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene was as close as a mainstream festival gets to what people imagine when they think of San Franciscans letting their freak flags fly and setting aside differences to have fun. These are the musical acts that stood out on the final day of the festival’s pandemic-era return.\u003c/p>\n\u003cfigure id=\"attachment_13905598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kehlani plays an intimate hometown show\u003c/h2>\n\u003cp>Most people packed out the Lands End stage to see headliner Tame Impala, who sounded great but projected such distorted, trippy visuals that it was impossible to see what was happening on stage unless you decided to brave the crowds and get up close. The vibe at Kehlani’s Sutro Stage set at the same time was much more intimate, and she embraced it. “I know y’all came to a festival to dance and be crazy and mosh pit, but you know I make love songs,” she told the audience, which contained a notable number of couples in embrace. They began to sway when Kehlani sang the opening bars of the syrupy R&B track “Hate the Club.” \u003c/p>\n\u003cp>The Oakland native interspersed more recent radio singles like “Nights Like This” and “Ring,” her track with Cardi B, with earlier work that put her on the map. Tracks like “Distraction” and “CRZY” got big cheers from her hometown fans, many of whom have followed her since before her mixtape era. Kehlani performed with a full band, but rather than wow us with huge crescendos and guitar solos, they let her singularly warm voice be the star. The down-to-earth approach worked well, especially for the tender, queer love song “Honey,” which she introduced, in true Town fashion, by yelling “Where my gay bitches at?!”\u003c/p>\n\u003cfigure id=\"attachment_13905621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Egyptian Lover performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Egyptian Lover works his vinyl wizardry\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A DJ set from Egyptian Lover, an elder statesman of the first pillar of hip-hop, made a trip to the House by Heineken tent worth it, even if it meant missing the action on the big music stages. At his concerts, Egyptian Lover typically raps live and does tricks on his 808, but at Outside Lands he let the ones and twos do the talking. He spun b-boy classics from the electrofunk era he came up in, like “Planet Rock” and “Rock It, Don’t Stop It.” But he never played them straight, scratching, fading vocals in and out and creating a sonic collage by putting the needle to the groove. The 50 person or so audience was dancing it out—someone dressed as Mrs. Doubtfire was shaking their butt pads, a \u003ci>Squid Game\u003c/i> guy was doing the most and another person twerked so hard they slipped in the mud.\u003c/p>\n\u003cfigure id=\"attachment_13905593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burna Boy performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burna Boy leaves a powerful message\u003c/h2>\n\u003cp>The mood was sunny during Burna Boy’s set at the Twin Peaks stage, where he performed with a full band that got the crowd winding their hips to Afrobeats. The guitarist played breezy melodies; the horns ushered in a celebratory atmosphere. Thunderous drums added gravitas as the Nigerian superstar sang in his big, booming voice, and rapped on tracks that shared a vernacular with American hip-hop. Within the uptempo set, some songs in Burna Boy’s catalogue introduced a darker edge. “20 10 20,” a song he wrote in response to \u003ca href=\"https://www.kqed.org/arts/13888379/oakland-artists-join-nigerias-endsars-movement-against-police-violence-from-afar\" rel=\"noopener noreferrer\" target=\"_blank\">Nigeria’s movement against corruption and police brutality\u003c/a>, marked an especially powerful moment as visuals depicting the country’s colonial history flashed on-screen. “Put one fist up and pump that shit because this is protest music,” Burna Boy said. \u003c/p>\n\u003cfigure id=\"attachment_13905589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Howard performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brittany Howard’s sunset groove\u003c/h2>\n\u003cp>Outside Lands felt like \u003ca href=\"https://www.npr.org/2021/07/01/1010306918/summer-of-soul-questlove-movie-review-harlem-cultural-festival\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Summer of Soul\u003c/em>\u003c/a> during Brittany Howard’s set, which took place at Lands End during the golden hour. Even though Howard performed on the big stage, she managed to convey the relaxed atmosphere of a block party. She and her band took their time to settle into the groove of each track, weaving together elements of R&B, funk and blues as the audience two-stepped along. Howard belted in her low alto, let out high notes in a falsetto and shouted impassioned ad libs in the vein of James Brown as gospel-style backup singers supported her with an angelic chorus. She ended the set with the uplifting track “Give It To Love,” a manifesto about kindness and connection that I’m pretty sure inspired everyone in the audience to do at least one good deed as they continued their day. \u003c/p>\n\u003cfigure id=\"attachment_13905596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">mxmtoon performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yves Tumor and Its Band perform at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofi Tukker backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar",
"headTitle": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar | KQED",
"content": "\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/cgBzWvwvWc4\u003c/p>\n\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\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=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qNrM3QqTkdQ\u003c/p>\n\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” [aside postid='arts_13891687']\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RkVyo5RRYU0\u003c/p>\n\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/GZagrum0fbQ\u003c/p>\n\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cgBzWvwvWc4'\n title='//www.youtube.com/embed/cgBzWvwvWc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\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=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qNrM3QqTkdQ'\n title='//www.youtube.com/embed/qNrM3QqTkdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RkVyo5RRYU0'\n title='//www.youtube.com/embed/RkVyo5RRYU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GZagrum0fbQ'\n title='//www.youtube.com/embed/GZagrum0fbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-still-raining-game-in-northern-california",
"title": "It's Still Raining Game in Northern California",
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"headTitle": "It’s Still Raining Game in Northern California | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n",
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"excerpt": "A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.",
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"title": "It's Still Raining Game in Northern California | KQED",
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"headline": "It's Still Raining Game in Northern California",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Whether serenading your sweetie, enjoying a night with friends or pampering yourself, Valentine’s Day deserves a good soundtrack. Here, we’ve rounded up 20 Bay Area love songs of the R&B, soul, disco and rap variety.\u003c/p>\n\u003cp>Some selections are newer, like the duet “Best Part” by H.E.R. and Daniel Caesar, the funky “Crush” by Duckwrth, and Rayana Jay’s uptempo R&B track “Love Me Like.” Then, we take it back in time with the disco song “I Need Somebody to Love Tonight” by Sylvester, and wind things down with Darondo’s “Didn’t I” and Tony! Toni! Toné!’s slow jam “Anniversary.”\u003c/p>\n\u003cp>If you need to belt out your emotions, we have you covered with “Love” by Keyshia Cole. And if you’re a player with a softer side, you may appreciate “Cupcake No Fillin” by Trunk Boiz and “What’s Your Zodiac” by the Jacka.\u003c/p>\n\u003cp>Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2xeutqmT58kONmJp5f0z1T\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"order": 1
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"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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"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": {
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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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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"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",
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"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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"link": "/radio/program/how-i-built-this",
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"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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"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",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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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},
"link": "/radio/program/latino-usa",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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": {
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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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"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/",
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"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",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}