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"content": "\u003cp>In most American municipalities, the elimination of one management job in city government would hardly garner notice. But Oakland is not most American municipalities, which explains why, at 2:30 p.m. on Tuesday afternoon, more than 30 people had gathered on the steps of City Hall to call for reinstating the staff position of \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">Cultural Affairs Manager\u003c/a>.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” said Cat Brooks, the Oakland artist, activist and previous mayoral candidate. “Anyone who is in the town, lives in the town or loves the town knows that arts and culture is our heartbeat. So if you’re interested in the heartbeat of Oakland, this position matters to you.”\u003c/p>\n\u003cp>It marked the third straight week of organized protests against the elimination of the position in Oakland’s latest budget, which was \u003ca href=\"https://www.kqed.org/news/12043553/alternative-oakland-budget-aims-to-halt-fire-station-closures-boost-police-staffing\">adopted by city council\u003c/a> on June 11. New city expenditures, which cutting the Cultural Affairs Manager would help pay for, include $1.4 million in sideshow prevention, $1 million for the establishment of entertainment zones and an increase to police staffing.\u003c/p>\n\u003cfigure id=\"attachment_13978245\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks speaks at a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Explaining the need for a Cultural Affairs Manager to the average citizen poses a challenge, several attendees noted. It is a city government job, in a place where many artists and musicians are either unconcerned with or directly opposed to city government.\u003c/p>\n\u003cp>“I used to actually be one of those artists who did not really feel like the city had anything to offer me,” said \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a>, a musician and educator who \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">joined the Cultural Arts Commission\u003c/a> in 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for artists savvy with grants — or those who get hired or contracted by nonprofits, which is to say nearly all artists in Oakland — the role of a Cultural Affairs Manager provides crucial support. Equal parts advocate, fundraiser, intermediary and ambassador, its impact more than justifies its \u003ca href=\"https://transparentcalifornia.com/salaries/search/?q=roberto+bedoya&y=\">$170,000 annual salary\u003c/a>, attendees on Tuesday said.\u003c/p>\n\u003cfigure id=\"attachment_13978249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Retired Cultural Affairs Manager Roberto Bedoya gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most people spoke highly of Roberto Bedoya, the former Cultural Affairs Manager who retired in 2024. Hired in 2016, Bedoya worked as a liaison to other departments, argued against cuts and grant delays, ran the public art program, drafted Oakland’s first-ever cultural plan and, importantly, secured money for the city’s arts and culture sector.\u003c/p>\n\u003cp>After Tuesday’s protest, Bedoya spoke at the city council meeting to note $1.9 million in federal funds and $5 million in public-private partnerships that he had facilitated, and promised that, even in retirement, “I will help you find revenue.” Before he could finish, his microphone was cut off.\u003c/p>\n\u003cp>[aside postID='arts_13957786']The protest and city council meeting on Tuesday stood in stark contrast to the news that, across the Bay, \u003ca href=\"https://www.kqed.org/arts/13978179/san-francisco-artist-grants-sfac-2025-2026\">San Francisco had awarded more than $10 million in grants to artists and arts organizations\u003c/a> just that morning. Vanessa Whang, the chair of Oakland’s Cultural Affairs Commission, said the grants showed that San Francisco’s leaders were being “smart” about their priorities.\u003c/p>\n\u003cp>“Even though they are also facing deficits, they understand an investment in the arts and culture sector is what is going to make the city come back,” Whang said, noting the revenue-generating impact of the arts. “The most positive narrative that we have for Oakland right now is our culture. That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13978250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vaenssa Whang, chair of the Oakland Cultural Affairs Commission, gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The grants in San Francisco are funded by a hotel tax similar to Oakland’s hotel and lodging tax. Raquel Iglesias, the former cultural funding coordinator who managed the grants program for five years, said that she and Bedoya had urged city administrators to issue grants in 2024 that were delayed, causing the \u003ca href=\"https://www.kqed.org/arts/13957786/oakland-art-and-soul-festival-canceled\">cancellation of events like the annual Art & Soul Festival\u003c/a>.\u003c/p>\n\u003cp>This year, Iglesias said, the Cultural Affairs Divison was given no access to general fund monies for grants. “We had just roughly $180,000 in hotel tax money that we gave out in \u003cem>tiny\u003c/em> grants,” Iglesias explained, adding that she and another staff member had as of last week raised roughly $600,000 from private foundations to backfill the money that the city rescinded for general operating grantees.\u003c/p>\n\u003cp>Oakland Symphony CEO Mieko Hatano, jazz musician and educator John Santos and Living Jazz executive director Lyz Luke joined those who spoke at the council meeting. Oakland Ballet’s artistic director Graham Lustig and Julie Baker, CEO of California Arts Advocates, are among the dozens of others who have urged the city to reinstate the Cultural Affairs Manager position.\u003c/p>\n\u003cfigure id=\"attachment_13978247\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raquel Iglesias (center) attends a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even those with no direct income from the arts or the nonprofit world spoke on Tuesday about the importance of art and cultural programs.\u003c/p>\n\u003cp>On the City Hall steps, the activist Minister King X held his phone to the loudspeaker microphone so that William “Will Bop” Edwards, currently incarcerated in Solano State Prison, could address the assembled crowd.\u003c/p>\n\u003cp>[aside postID='arts_13969048']“When I was young, we had places to go. We had things to do that would scare us away from trouble. And with those places that involve art and creativity, it would allow us to meet, learn, and understand our neighbors. So when we grew up, we were less likely to want to shoot and kill people that grew up with us, because we had a prior relationship with them,” Edwards said, before an automated prison announcement came over the phone line to say that the call was being monitored and recorded.\u003c/p>\n\u003cp>The group has vowed to keep protesting every week until the Oakland City Council reinstates the position, said Brooks, who referred to investing in art as a “public safety strategy” that provides revenue and jobs.\u003c/p>\n\u003cp>Rachel Sanders, a dancer and poet who moved to Oakland two years ago, said that in addition to the impact on her own practice, she was dismayed at the budget being pushed through without sufficient time for thorough review by the public, or even certain council members.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This move just makes no sense, and it feels like a betrayal,” Sanders said. “And that’s personal, you know? So that’s why I’m here.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In most American municipalities, the elimination of one management job in city government would hardly garner notice. But Oakland is not most American municipalities, which explains why, at 2:30 p.m. on Tuesday afternoon, more than 30 people had gathered on the steps of City Hall to call for reinstating the staff position of \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">Cultural Affairs Manager\u003c/a>.\u003c/p>\n\u003cp>“As simply as I can put it, the arts will not get by without this position,” said Cat Brooks, the Oakland artist, activist and previous mayoral candidate. “Anyone who is in the town, lives in the town or loves the town knows that arts and culture is our heartbeat. So if you’re interested in the heartbeat of Oakland, this position matters to you.”\u003c/p>\n\u003cp>It marked the third straight week of organized protests against the elimination of the position in Oakland’s latest budget, which was \u003ca href=\"https://www.kqed.org/news/12043553/alternative-oakland-budget-aims-to-halt-fire-station-closures-boost-police-staffing\">adopted by city council\u003c/a> on June 11. New city expenditures, which cutting the Cultural Affairs Manager would help pay for, include $1.4 million in sideshow prevention, $1 million for the establishment of entertainment zones and an increase to police staffing.\u003c/p>\n\u003cfigure id=\"attachment_13978245\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978245\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-01-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks speaks at a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Explaining the need for a Cultural Affairs Manager to the average citizen poses a challenge, several attendees noted. It is a city government job, in a place where many artists and musicians are either unconcerned with or directly opposed to city government.\u003c/p>\n\u003cp>“I used to actually be one of those artists who did not really feel like the city had anything to offer me,” said \u003ca href=\"https://www.kqed.org/arts/tag/kev-choice\">Kev Choice\u003c/a>, a musician and educator who \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">joined the Cultural Arts Commission\u003c/a> in 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for artists savvy with grants — or those who get hired or contracted by nonprofits, which is to say nearly all artists in Oakland — the role of a Cultural Affairs Manager provides crucial support. Equal parts advocate, fundraiser, intermediary and ambassador, its impact more than justifies its \u003ca href=\"https://transparentcalifornia.com/salaries/search/?q=roberto+bedoya&y=\">$170,000 annual salary\u003c/a>, attendees on Tuesday said.\u003c/p>\n\u003cfigure id=\"attachment_13978249\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978249\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-09-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Retired Cultural Affairs Manager Roberto Bedoya gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most people spoke highly of Roberto Bedoya, the former Cultural Affairs Manager who retired in 2024. Hired in 2016, Bedoya worked as a liaison to other departments, argued against cuts and grant delays, ran the public art program, drafted Oakland’s first-ever cultural plan and, importantly, secured money for the city’s arts and culture sector.\u003c/p>\n\u003cp>After Tuesday’s protest, Bedoya spoke at the city council meeting to note $1.9 million in federal funds and $5 million in public-private partnerships that he had facilitated, and promised that, even in retirement, “I will help you find revenue.” Before he could finish, his microphone was cut off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The protest and city council meeting on Tuesday stood in stark contrast to the news that, across the Bay, \u003ca href=\"https://www.kqed.org/arts/13978179/san-francisco-artist-grants-sfac-2025-2026\">San Francisco had awarded more than $10 million in grants to artists and arts organizations\u003c/a> just that morning. Vanessa Whang, the chair of Oakland’s Cultural Affairs Commission, said the grants showed that San Francisco’s leaders were being “smart” about their priorities.\u003c/p>\n\u003cp>“Even though they are also facing deficits, they understand an investment in the arts and culture sector is what is going to make the city come back,” Whang said, noting the revenue-generating impact of the arts. “The most positive narrative that we have for Oakland right now is our culture. That’s why we get mentioned in \u003cem>The New York Times\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13978250\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978250\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vaenssa Whang, chair of the Oakland Cultural Affairs Commission, gives public comment at an Oakland City Council meeting advocating against the elimination of the Cultural Affairs Manager position from the city budget in Oakland on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The grants in San Francisco are funded by a hotel tax similar to Oakland’s hotel and lodging tax. Raquel Iglesias, the former cultural funding coordinator who managed the grants program for five years, said that she and Bedoya had urged city administrators to issue grants in 2024 that were delayed, causing the \u003ca href=\"https://www.kqed.org/arts/13957786/oakland-art-and-soul-festival-canceled\">cancellation of events like the annual Art & Soul Festival\u003c/a>.\u003c/p>\n\u003cp>This year, Iglesias said, the Cultural Affairs Divison was given no access to general fund monies for grants. “We had just roughly $180,000 in hotel tax money that we gave out in \u003cem>tiny\u003c/em> grants,” Iglesias explained, adding that she and another staff member had as of last week raised roughly $600,000 from private foundations to backfill the money that the city rescinded for general operating grantees.\u003c/p>\n\u003cp>Oakland Symphony CEO Mieko Hatano, jazz musician and educator John Santos and Living Jazz executive director Lyz Luke joined those who spoke at the council meeting. Oakland Ballet’s artistic director Graham Lustig and Julie Baker, CEO of California Arts Advocates, are among the dozens of others who have urged the city to reinstate the Cultural Affairs Manager position.\u003c/p>\n\u003cfigure id=\"attachment_13978247\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250701-OAKLAND-ARTS-FUNDING-PROTEST-MD-04-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raquel Iglesias (center) attends a rally outside of Oakland City Hall protesting the elimination of the Cultural Affairs Manager position from the city budget on July 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even those with no direct income from the arts or the nonprofit world spoke on Tuesday about the importance of art and cultural programs.\u003c/p>\n\u003cp>On the City Hall steps, the activist Minister King X held his phone to the loudspeaker microphone so that William “Will Bop” Edwards, currently incarcerated in Solano State Prison, could address the assembled crowd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When I was young, we had places to go. We had things to do that would scare us away from trouble. And with those places that involve art and creativity, it would allow us to meet, learn, and understand our neighbors. So when we grew up, we were less likely to want to shoot and kill people that grew up with us, because we had a prior relationship with them,” Edwards said, before an automated prison announcement came over the phone line to say that the call was being monitored and recorded.\u003c/p>\n\u003cp>The group has vowed to keep protesting every week until the Oakland City Council reinstates the position, said Brooks, who referred to investing in art as a “public safety strategy” that provides revenue and jobs.\u003c/p>\n\u003cp>Rachel Sanders, a dancer and poet who moved to Oakland two years ago, said that in addition to the impact on her own practice, she was dismayed at the budget being pushed through without sufficient time for thorough review by the public, or even certain council members.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.sterngrove.org/lineup\">Stern Grove Festival\u003c/a>, San Francisco’s long-running free concert series, just announced its return to the meadow for another summer of shows.\u003c/p>\n\u003cp>The festival’s “Big Picnic” season finale concert and fundraiser has been extended to two days of music, with reggae legends Damian “Jr. Gong” Marley and Stephen Marley headlining Aug. 16 and disco queen Diana Ross headlining Aug. 17.\u003c/p>\n\u003cp>Stern Grove kicks off June 15 with soul band the California Honeydrops, with support from The Dip. On June 22, hip-house vocalist Channel Tres brings ice-cold rhymes and four-on-the-floor beats to the park, with experimental R&B singer Astu opening. Alternative icons Sleater-Kinney headline on June 29, with rising East Bay punk band Destroy Boys kicking off the mosh pit.\u003c/p>\n\u003cp>The San Francisco Symphony performs July 6 with ukulele virtuoso Taimane. Electro-pop band Phantogram and singer-songrwriter Ha Vay take the stage on July 13. On July 20, Girl Talk, whose mashups ruled the 2000s, promises to get the dance floor moving along with neo-funk band Chromeo. Country crooner Orville Peck performs with Jaime Wyatt on July 29. [aside postid='arts_13967557']\u003c/p>\n\u003cp>On August 3, Bay Area greats Michael Franti & Spearhead bring hip-hop, soul and reggae fusion to the stage, with an opening set from Kev Choice’s jazz-funk band Black London. (Choice, a classically trained pianist and hip-hop artist, began his career as a sideman on a world tour with Franti in the early 2000s.) And on August 10, Oakland funk legends the Pointer Sisters take the stage with an opening set from venerable MC Lyrics Born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While Stern Grove is free to attend, this year the festival has introduced a new ticketing system. To reserve spots, fans must enter a lottery that opens over a month before each show. The first drawing, for the California Honeydrops, is on May 4.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stern Grove takes place at Sigmund Stern Grove Meadow in San Francisco on Sundays, June 15–Aug. 17. \u003ca href=\"https://www.sterngrove.org/lineup\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sterngrove.org/lineup\">Stern Grove Festival\u003c/a>, San Francisco’s long-running free concert series, just announced its return to the meadow for another summer of shows.\u003c/p>\n\u003cp>The festival’s “Big Picnic” season finale concert and fundraiser has been extended to two days of music, with reggae legends Damian “Jr. Gong” Marley and Stephen Marley headlining Aug. 16 and disco queen Diana Ross headlining Aug. 17.\u003c/p>\n\u003cp>Stern Grove kicks off June 15 with soul band the California Honeydrops, with support from The Dip. On June 22, hip-house vocalist Channel Tres brings ice-cold rhymes and four-on-the-floor beats to the park, with experimental R&B singer Astu opening. Alternative icons Sleater-Kinney headline on June 29, with rising East Bay punk band Destroy Boys kicking off the mosh pit.\u003c/p>\n\u003cp>The San Francisco Symphony performs July 6 with ukulele virtuoso Taimane. Electro-pop band Phantogram and singer-songrwriter Ha Vay take the stage on July 13. On July 20, Girl Talk, whose mashups ruled the 2000s, promises to get the dance floor moving along with neo-funk band Chromeo. Country crooner Orville Peck performs with Jaime Wyatt on July 29. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On August 3, Bay Area greats Michael Franti & Spearhead bring hip-hop, soul and reggae fusion to the stage, with an opening set from Kev Choice’s jazz-funk band Black London. (Choice, a classically trained pianist and hip-hop artist, began his career as a sideman on a world tour with Franti in the early 2000s.) And on August 10, Oakland funk legends the Pointer Sisters take the stage with an opening set from venerable MC Lyrics Born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While Stern Grove is free to attend, this year the festival has introduced a new ticketing system. To reserve spots, fans must enter a lottery that opens over a month before each show. The first drawing, for the California Honeydrops, is on May 4.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Stern Grove takes place at Sigmund Stern Grove Meadow in San Francisco on Sundays, June 15–Aug. 17. \u003ca href=\"https://www.sterngrove.org/lineup\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\u003c/p>\n\u003cp>https://youtu.be/RMQbdElhnEo?si=itDr1mRXyofFuwJE\u003c/p>\n\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” [ad fullwidth]\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OPjcgZPGAq8\u003c/p>\n\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJoftyUh8a0\u003c/p>\n\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tiv9_GovdHY\u003c/p>\n\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\u003c/p>\n\u003cp>https://youtu.be/52eYIEiDLXw?si=eK08m1l0u9QtBx4Z\u003c/p>\n\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\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/RMQbdElhnEo'\n title='//www.youtube.com/embed/RMQbdElhnEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\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/OPjcgZPGAq8'\n title='//www.youtube.com/embed/OPjcgZPGAq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\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/aJoftyUh8a0'\n title='//www.youtube.com/embed/aJoftyUh8a0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\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/Tiv9_GovdHY'\n title='//www.youtube.com/embed/Tiv9_GovdHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\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/52eYIEiDLXw'\n title='//www.youtube.com/embed/52eYIEiDLXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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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"title": "Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud | KQED",
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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": "Kev Choice Delivers Symphonic Rap with Newest Album, ‘The Healing’",
"headTitle": "Kev Choice Delivers Symphonic Rap with Newest Album, ‘The Healing’ | KQED",
"content": "\u003cp>In 2018, the Oakland Symphony’s “Rooted in Oakland” series brought an orchestral ensemble to the Paramount Theatre. But instead of the 50-piece band playing the usual Mozart or Bach, they summoned the mobbish energy of Too $hort, the Luniz and Dru Down. The mastermind behind that string-heavy tour de hyphy? Oakland’s own, \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\">Kev Choice\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Choice\u003c/a> isn’t just a prolific, classically trained composer and arranger who has worked with the Oakland and \u003ca href=\"https://www.youtube.com/watch?v=LYuoaytEeDE\">San Francisco\u003c/a> symphonies, though; he also raps, produces, sings and is an especially fire pianist. His wide-ranging list of collaborators includes NBA superstar Damian Lillard and local rap savant \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">Rexx Life Raj\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13878382']Now, the chameleonic artist is on the verge of a new sound, one that synthesizes his maturity as a veteran Bay Area musician with his latest project, \u003ci>The Healing\u003c/i>. He’ll debut select tracks from the album as a “ghetto upscale” pre-release party with guest performances from \u003ca href=\"https://www.youtube.com/watch?v=7AnAwaYmIlE\">Rob Woods\u003c/a> and \u003ca href=\"https://youtu.be/aR1LVuhivnY\">T. Carriér\u003c/a> on Friday, April 7, at the New Parish in Oakland.\u003c/p>\n\u003cp>The event will serve as a teaser for the upcoming full-length album (scheduled to be dropped at the end of April). It’s a celebration of the local arts community that has pushed him towards his musical peak — “from concert halls to sidewalks,” as Choice puts it. Though listed as a solo project, the album’s various features — which include Woods and Carriér and contributions from \u003ca href=\"https://www.instagram.com/djdsharp/?hl=en\">DJ D-Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\">Drew Banga\u003c/a> — are meant to tell a story about the kinds of relationships that men, Black men in particular, are capable of healing from.\u003c/p>\n\u003cp>“It’s a dope energy to build on. Just seeing how we’re all aligned as men in music, hip hop, community. We focus on craft, positive messaging,” he says. “There’s lots of issues around commitment, trust and transparency in any relationship. This is me telling that in a musical form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album is part of a planned trilogy, something Choice says is influenced by his work as an orchestra arranger in a genre which often features a series of movements and sequences to create epic emotion. \u003ci>The Healing\u003c/i> is a preamble of sorts, and Choice later plans to explore the stages of “progression” and “transformation.”\u003c/p>\n\u003cp>“It’s about my growth as a human, musician and artist,” he adds. “Every step is building towards a larger composition. This is that first step for people to recognize and hear those elements I’ve been working on.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Healing’ album pre-release party will be at \u003ca href=\"https://www.instagram.com/thenewparish/?hl=en\">The New Parish\u003c/a> (1743 San Pablo Ave., Oakland) on Friday, April 7 at 8 p.m. Tickets are $15-40 \u003ca href=\"https://www.ticketweb.com/event/kev-choice-t-carrier-rob-the-new-parish-tickets/12972385\">in advance\u003c/a>, $20 at the door.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An album pre-release party on April 7 celebrates the versatile Oakland artist’s newest work, part of a planned trilogy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2018, the Oakland Symphony’s “Rooted in Oakland” series brought an orchestral ensemble to the Paramount Theatre. But instead of the 50-piece band playing the usual Mozart or Bach, they summoned the mobbish energy of Too $hort, the Luniz and Dru Down. The mastermind behind that string-heavy tour de hyphy? Oakland’s own, \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\">Kev Choice\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Choice\u003c/a> isn’t just a prolific, classically trained composer and arranger who has worked with the Oakland and \u003ca href=\"https://www.youtube.com/watch?v=LYuoaytEeDE\">San Francisco\u003c/a> symphonies, though; he also raps, produces, sings and is an especially fire pianist. His wide-ranging list of collaborators includes NBA superstar Damian Lillard and local rap savant \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">Rexx Life Raj\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, the chameleonic artist is on the verge of a new sound, one that synthesizes his maturity as a veteran Bay Area musician with his latest project, \u003ci>The Healing\u003c/i>. He’ll debut select tracks from the album as a “ghetto upscale” pre-release party with guest performances from \u003ca href=\"https://www.youtube.com/watch?v=7AnAwaYmIlE\">Rob Woods\u003c/a> and \u003ca href=\"https://youtu.be/aR1LVuhivnY\">T. Carriér\u003c/a> on Friday, April 7, at the New Parish in Oakland.\u003c/p>\n\u003cp>The event will serve as a teaser for the upcoming full-length album (scheduled to be dropped at the end of April). It’s a celebration of the local arts community that has pushed him towards his musical peak — “from concert halls to sidewalks,” as Choice puts it. Though listed as a solo project, the album’s various features — which include Woods and Carriér and contributions from \u003ca href=\"https://www.instagram.com/djdsharp/?hl=en\">DJ D-Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/drewwwbanga/\">Drew Banga\u003c/a> — are meant to tell a story about the kinds of relationships that men, Black men in particular, are capable of healing from.\u003c/p>\n\u003cp>“It’s a dope energy to build on. Just seeing how we’re all aligned as men in music, hip hop, community. We focus on craft, positive messaging,” he says. “There’s lots of issues around commitment, trust and transparency in any relationship. This is me telling that in a musical form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album is part of a planned trilogy, something Choice says is influenced by his work as an orchestra arranger in a genre which often features a series of movements and sequences to create epic emotion. \u003ci>The Healing\u003c/i> is a preamble of sorts, and Choice later plans to explore the stages of “progression” and “transformation.”\u003c/p>\n\u003cp>“It’s about my growth as a human, musician and artist,” he adds. “Every step is building towards a larger composition. This is that first step for people to recognize and hear those elements I’ve been working on.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Healing’ album pre-release party will be at \u003ca href=\"https://www.instagram.com/thenewparish/?hl=en\">The New Parish\u003c/a> (1743 San Pablo Ave., Oakland) on Friday, April 7 at 8 p.m. Tickets are $15-40 \u003ca href=\"https://www.ticketweb.com/event/kev-choice-t-carrier-rob-the-new-parish-tickets/12972385\">in advance\u003c/a>, $20 at the door.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene",
"headTitle": "Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene | KQED",
"content": "\u003cp>At this year’s \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>, on Sept. 5, you got the sense that Oakland’s hip-hop scene is one big family. Only at this festival—put on by the venerated crew behind hits like “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">’93 Til Infinity\u003c/a>”—do you see Bay Area stars like Mistah F.A.B. and D-Lo walking through the crowd shaking hands, or Hieroglyphics’ own Tajai working the ticket booth and personally welcoming fans.\u003c/p>\n\u003cp>Longtime listeners could be seen coming up to OG artists, giving hugs and reminiscing. A well-curated lineup of both emerging rappers and seasoned legends drew crowds of teens through 50-somethings willing to brave the heat wave. People brought small children, babies and dogs. Above all, the festival celebrated the Bay Area’s hip-hop lineage—how distinctive styles like mobb music, hyphy and conscious rap have informed each other throughout the decades, and how younger artists are taking that legacy and building something new.\u003c/p>\n\u003cfigure id=\"attachment_13918706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 (right) performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year off in 2020, and a scaled-down event in 2021, Hiero Day made a true return this year for its 10th anniversary. The event wasn’t perfect—more water stations would have helped, as temperatures on 3rd Street and Martin Luther King Jr. Way climbed to 99 degrees. The three stages ran a couple hours behind schedule, with no way to communicate lineup changes.\u003c/p>\n\u003cp>But so it goes at Hiero Day, where it’s better to stroll around and vibe instead of over-planning your afternoon. The event stands as one of the last affordable, unpretentious music festivals in the Bay Area, and its laid-back atmosphere once again made it a gem. Here’s what we saw this year.\u003c/p>\n\u003cfigure id=\"attachment_13918693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mekanix Bring Out Keak Da Sneak\u003c/h2>\n\u003cp>\u003ca href=\"https://www.themekanix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mekanix\u003c/a> specialize in trunk-rattling beats, but this mobb music super-producer duo wasn’t behind the decks during their Hiero Day set. Instead, 4rAx and Kenny Tweed took the main stage, hyping the crowd as DJ D Sharp (who spins for the Golden State Warriors) dropped song after song crafted by The Mekanix for their featured artists—E-40, Snoop Dogg, the list goes on. The audience was already hyped.\u003c/p>\n\u003cfigure id=\"attachment_13918716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">4rAx and Kenny Tweed of The Mekanix perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, magic began to happen as guest artists joined The Mekanix and their dancers on stage. Mob Figaz’ Husalah, who swore he doesn’t really rap anymore, jumped into the crowd, moshed and rhymed a cappella. When Keak the Sneak came out on stage, the crowd went crazy—and went even crazier when he performed “Super Hyphy,” produced by \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">the late Traxamillion\u003c/a>, a track Baydestrians young and old have tattooed on their hearts almost 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_13918715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Grouch performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Zion I Tribute Honors Zumbi’s Legacy\u003c/h2>\n\u003cp>Stephen Gaines, a.k.a. Baba Zumbi, died under mysterious circumstances at Alta Bates Medical Center in Berkeley just over a year ago, and his family, friends and fans are \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\" target=\"_blank\" rel=\"noopener noreferrer\">still waiting for answers and accountability\u003c/a>. It’s difficult to heal without closure, but moments of joy shone through the sadness at his tribute concert featuring MCs The Grouch, Deuce Eclipse and Dustin Sharpe, with Kev Choice on keys and Codany Holiday IV singing soaring backing vocals. Amp Live, Zumbi’s music partner in the duo Zion I, looked on as the ensemble covered tracks like “Don’t Lose Your Head” and “The Bay,” sometimes letting Zumbi’s recorded voice take over.\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a particularly resonant moment, Choice stepped out from behind his keyboard to rap “\u003ca href=\"https://www.youtube.com/watch?v=CBY-JWKBV9w\" target=\"_blank\" rel=\"noopener noreferrer\">My Antenna\u003c/a>,” which, in this context, sounded like a yearning to reach someone who’s already in the afterlife. The performance came to a beautiful close when Zumbi’s entire family, including his three young boys, stood up on stage during “Coastin’” to feel the love from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Food for Thought and Laughs from LaRussell\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>’s casual uniform of Crocs and a T-shirt lends him a sort of down-to-earth relatability, but that belies his powerful confidence and lyrical insight. On the smaller 3rd Eye Stage at Hiero Day, the quickly rising Vallejo rapper captivated a small but appreciative crowd, holding each person’s gaze as if rapping directly to them.\u003c/p>\n\u003cfigure id=\"attachment_13918674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell has an uncanny ability to switch between sermon-like wisdom (he restarted several tracks to make sure the audience was really listening) and free-spirited moments of silliness and dancing, taking the crowd along for the ride. When LaRussell raps about building his own opportunities—like the music venue he started in his backyard—you can’t help but believe in him and the\u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\"> self-starting, independent musical community\u003c/a> he’s created in Vallejo. The performance touched listeners’ hearts and left them with big smiles.\u003c/p>\n\u003cfigure id=\"attachment_13918696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Delivers a Rare Intimate Performance\u003c/h2>\n\u003cp>Keyshia Cole has played for arenas of tens of thousands, so her headlining set in front of an intimate hometown crowd that grew up alongside her was something special. After taking the stage with her backup dancers, the Oakland R&B star dropped the formalities and began asking the audience what they wanted to hear. When they shouted “Let It Go,” she indulged, performing her post-breakup dancefloor hit featuring Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13918698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then she began talking to the audience like family—she mentioned her skyrocketing rise in the music industry in the early 2000s, her mother’s drug addiction, her anxiety. “I made it, so fuck that, that’s not the end of my story,” Cole said as she announced that she’s filming a movie about her life. When she belted her ballad “Love” in front of a peachy sunset sky, the entire audience sang along.\u003c/p>\n\u003cfigure id=\"attachment_13918699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SoLauren Adams and Karega Bailey at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918703\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "An intergenerational crowd braved the heat wave to see Keyshia Cole, Hieroglyphics, LaRussell and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this year’s \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>, on Sept. 5, you got the sense that Oakland’s hip-hop scene is one big family. Only at this festival—put on by the venerated crew behind hits like “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw\" target=\"_blank\" rel=\"noopener noreferrer\">’93 Til Infinity\u003c/a>”—do you see Bay Area stars like Mistah F.A.B. and D-Lo walking through the crowd shaking hands, or Hieroglyphics’ own Tajai working the ticket booth and personally welcoming fans.\u003c/p>\n\u003cp>Longtime listeners could be seen coming up to OG artists, giving hugs and reminiscing. A well-curated lineup of both emerging rappers and seasoned legends drew crowds of teens through 50-somethings willing to brave the heat wave. People brought small children, babies and dogs. Above all, the festival celebrated the Bay Area’s hip-hop lineage—how distinctive styles like mobb music, hyphy and conscious rap have informed each other throughout the decades, and how younger artists are taking that legacy and building something new.\u003c/p>\n\u003cfigure id=\"attachment_13918706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 (right) performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year off in 2020, and a scaled-down event in 2021, Hiero Day made a true return this year for its 10th anniversary. The event wasn’t perfect—more water stations would have helped, as temperatures on 3rd Street and Martin Luther King Jr. Way climbed to 99 degrees. The three stages ran a couple hours behind schedule, with no way to communicate lineup changes.\u003c/p>\n\u003cp>But so it goes at Hiero Day, where it’s better to stroll around and vibe instead of over-planning your afternoon. The event stands as one of the last affordable, unpretentious music festivals in the Bay Area, and its laid-back atmosphere once again made it a gem. Here’s what we saw this year.\u003c/p>\n\u003cfigure id=\"attachment_13918693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keak-Da-Sneak-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keak Da Sneak performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Mekanix Bring Out Keak Da Sneak\u003c/h2>\n\u003cp>\u003ca href=\"https://www.themekanix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mekanix\u003c/a> specialize in trunk-rattling beats, but this mobb music super-producer duo wasn’t behind the decks during their Hiero Day set. Instead, 4rAx and Kenny Tweed took the main stage, hyping the crowd as DJ D Sharp (who spins for the Golden State Warriors) dropped song after song crafted by The Mekanix for their featured artists—E-40, Snoop Dogg, the list goes on. The audience was already hyped.\u003c/p>\n\u003cfigure id=\"attachment_13918716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Mekanix-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">4rAx and Kenny Tweed of The Mekanix perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918686\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, magic began to happen as guest artists joined The Mekanix and their dancers on stage. Mob Figaz’ Husalah, who swore he doesn’t really rap anymore, jumped into the crowd, moshed and rhymed a cappella. When Keak the Sneak came out on stage, the crowd went crazy—and went even crazier when he performed “Super Hyphy,” produced by \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound\" target=\"_blank\" rel=\"noopener noreferrer\">the late Traxamillion\u003c/a>, a track Baydestrians young and old have tattooed on their hearts almost 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_13918715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-Grouch-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-0A.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Grouch performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Zion I Tribute Honors Zumbi’s Legacy\u003c/h2>\n\u003cp>Stephen Gaines, a.k.a. Baba Zumbi, died under mysterious circumstances at Alta Bates Medical Center in Berkeley just over a year ago, and his family, friends and fans are \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\" target=\"_blank\" rel=\"noopener noreferrer\">still waiting for answers and accountability\u003c/a>. It’s difficult to heal without closure, but moments of joy shone through the sadness at his tribute concert featuring MCs The Grouch, Deuce Eclipse and Dustin Sharpe, with Kev Choice on keys and Codany Holiday IV singing soaring backing vocals. Amp Live, Zumbi’s music partner in the duo Zion I, looked on as the ensemble covered tracks like “Don’t Lose Your Head” and “The Bay,” sometimes letting Zumbi’s recorded voice take over.\u003c/p>\n\u003cfigure id=\"attachment_13918677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918677\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for the Zion I tribute at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a particularly resonant moment, Choice stepped out from behind his keyboard to rap “\u003ca href=\"https://www.youtube.com/watch?v=CBY-JWKBV9w\" target=\"_blank\" rel=\"noopener noreferrer\">My Antenna\u003c/a>,” which, in this context, sounded like a yearning to reach someone who’s already in the afterlife. The performance came to a beautiful close when Zumbi’s entire family, including his three young boys, stood up on stage during “Coastin’” to feel the love from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13918676\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Food for Thought and Laughs from LaRussell\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/larussell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>’s casual uniform of Crocs and a T-shirt lends him a sort of down-to-earth relatability, but that belies his powerful confidence and lyrical insight. On the smaller 3rd Eye Stage at Hiero Day, the quickly rising Vallejo rapper captivated a small but appreciative crowd, holding each person’s gaze as if rapping directly to them.\u003c/p>\n\u003cfigure id=\"attachment_13918674\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918674\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/LaRussell-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell has an uncanny ability to switch between sermon-like wisdom (he restarted several tracks to make sure the audience was really listening) and free-spirited moments of silliness and dancing, taking the crowd along for the ride. When LaRussell raps about building his own opportunities—like the music venue he started in his backyard—you can’t help but believe in him and the\u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\"> self-starting, independent musical community\u003c/a> he’s created in Vallejo. The performance touched listeners’ hearts and left them with big smiles.\u003c/p>\n\u003cfigure id=\"attachment_13918696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Delivers a Rare Intimate Performance\u003c/h2>\n\u003cp>Keyshia Cole has played for arenas of tens of thousands, so her headlining set in front of an intimate hometown crowd that grew up alongside her was something special. After taking the stage with her backup dancers, the Oakland R&B star dropped the formalities and began asking the audience what they wanted to hear. When they shouted “Let It Go,” she indulged, performing her post-breakup dancefloor hit featuring Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13918698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then she began talking to the audience like family—she mentioned her skyrocketing rise in the music industry in the early 2000s, her mother’s drug addiction, her anxiety. “I made it, so fuck that, that’s not the end of my story,” Cole said as she announced that she’s filming a movie about her life. When she belted her ballad “Love” in front of a peachy sunset sky, the entire audience sang along.\u003c/p>\n\u003cfigure id=\"attachment_13918699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Keyshia-Cole-headlines-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole headlines Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.007-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918700\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mistah-F.A.B.-performs-the-Zion-I-tribute-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. performs the Zion I tribute at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-backstage-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918689\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Ian-Kelly-performs-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918691\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918692\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918692\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/J.-Stalin-performs-with-The-Mekanix-at-Hiero-Day-on-Monday-Sept.-6-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Stalin performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918680\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-backstage-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl backstage at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918681\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918682\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Grand-Nationxl-perform-at-Hiero-Day-on-Monday-Sept.-6-2022.002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SoLauren Adams and Karega Bailey at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918685\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918685\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-003-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Hieroglyphics-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics perform at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.008-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.005-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918687\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Husalah-performs-with-The-Mekanix-at-Hiero-Day-at-Hiero-Day-on-Monday-Sept.-6-2022.-01.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Husalah performs with The Mekanix at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918703\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Stunnaman02-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.010-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918713\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.009-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13918708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.004-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation",
"headTitle": "Vân-Ánh Võ’s ‘Songs of Strength’ Opens a Multilingual, Multi-Genre Musical Conversation | KQED",
"content": "\u003cp>As one of the nation’s leading university-based arts presenters, Cal Performances boasts a century-long track record of bringing the world’s greatest performers to UC Berkeley. Perusing a Cal Perfs catalog can feel like planning a journey to Oz, with its tantalizing succession of shows that parachute audiences into scenes teeming with Technicolor creativity.\u003c/p>\n\u003cp>But after covering Cal Performances for a quarter century, it’s still hard to account for its lack of initiative when it comes to programming local artists. With apologies to the Sunflower State, the Bay Area ain’t Kansas. The international array of world-class choreographers, musicians, composers and multi-disciplinary performers residing here tends to fly under the organization’s radar, which is why Saturday’s world premiere \u003ca href=\"https://calperformances.org/events/2021-22/new-music/van-anh-vo-blood-moon-orchestra-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Songs of Strength\u003c/em>\u003c/a> at Zellerbach Hall feels like Cal Perfs suddenly woke from a fever dream eyes wide with wonder to declare earnestly, “There’s no place like home!”\u003c/p>\n\u003cp>Created by Hanoi-born composer and \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese traditional music master Vân-Ánh Võ\u003c/a>, \u003cem>Songs of Strength\u003c/em> is a three-part suite championing women’s resilience and independence with texts in English, Farsi and Vietnamese. More than polyglot, the production is kaleidoscopic, seeking to elucidate universal themes about the struggle for liberation by spinning the artists into unfamiliar terrain. Võ is the overarching conceptualist, but she’s spotlighting several leading Bay Area musicians, including Iranian singer/songwriter Mahsa Vahdat, breakdancer Babatunji “Tunjie” Johnson (who’s also a member of Alonzo King LINES Ballet) and \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a>, a rapper and jazz-steeped pianist with a long track record as a creative catalyst.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=8y02Rv8sQzw&feature=emb_logo\u003c/p>\n\u003cp>“Musically, it’s definitely outside the normal scope of what I’d rap over as a hip-hop artist,” says Choice, who contributes to four pieces throughout \u003cem>Songs of Strength\u003c/em>. “I wanted to contribute as a lyricist, but not force hip-hop into it. The topics are very socially conscious, focusing on liberation and freedom. One piece is inspired by a Maya Angelou poem, where Vân is singing in Vietnamese and I’m rapping in English. And as an MC there’s some space for me to improvise, using freestyle technique.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Võ often performs for Vietnamese communities around California, but she’s also eagerly sought out collaborators who know little of her homeland. Her commitment to incorporating other traditions, languages and musical practices into her music flows from her sense of herself as a work in progress, “a traditional artist still taking classes with my masters,” Võ says during a video call from her home in the El Cerrito hills.\u003c/p>\n\u003cp>“I never think I can finish learning,” she says. “They provide a time machine to go back to the past, and I have to create music that reflects my thinking and future generations.”\u003c/p>\n\u003cp>At their best, the encounters are win-win, an exchange that breaks down barriers between people and deepens one’s art. “I can get influences and give influences, which can help us get closer,” she says. “A lot of people are afraid of sharing. They think whatever they have will be stolen away. I’m not afraid of that. I never use any technique or school of thought to replace what I am, only to make my technique and instrument better.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cZgkQsfqhE\u003c/p>\n\u003cp>Saturday’s concert is part of Cal Performances’ \u003cem>Illuminations:\u003c/em> “Place and Displacement” series, which features performances, public programs and academic events designed to investigate the ripples of migration and demographic change. No stranger to Cal Performances audiences, Võ has performed at Zellerbach Hall several times in collaboration with Kronos Quartet, most recently in 2018 in the fully staged opera \u003cem>My Lai\u003c/em> by composer Jonathan Berger and librettist Harriet Scott Chessman.\u003c/p>\n\u003cp>A rare exception to Cal Performances’ inattention to Bay Area-based artists, Kronos has been a primary conduit bringing local luminaries into the organization’s orbit (including Mahsa Vahdat, who also performs with the illustrious new music ensemble \u003ca href=\"https://calperformances.org/events/2021-22/new-music/kronos-quartet-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Thursday at Zellerbach\u003c/a>). With \u003cem>Songs of Strength\u003c/em>, Võ is holding the door opened by Kronos and ushering in a bevy of artists who’ve never played a Cal Performances engagement.\u003c/p>\n\u003cp>\u003cem>Songs of Strength\u003c/em> features Võ’s Blood Moon Orchestra, which may sound like a grand designation for a quartet. But her wildly disparate cast of East Bay artists can create sumptuously dynamic musical settings, building on the singular rhythm section tandem of Oakland taiko drummer Jimi Nakagawa and Berkeley electric bassist Kai Eckhardt. Eckhardt is a co-founder of the jam band Garaj Mahal, and has toured and recorded with heavyweights like guitarist John McLaughlin, tabla maestro Zakir Hussain and drummer Billy Cobham.\u003c/p>\n\u003cp>Blood Moon’s Joel Davel pivots between the rhythm section and melodic lead, providing orchestral accompaniment on marimba lumina, an electronic instrument with a limitless range of sonic possibilities. Võ spent several years scouting for the right percussionist or marimba player before she caught Davel performing with guitarist and composer Paul Dresher.\u003c/p>\n\u003cp>“I loved what he did,” she recalls. “He’s another person who wants to make his own instrument new, just like me. We find a lot in common. Let’s work together to create even more new sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She plays a number of traditional instruments but her primary musical vehicle, besides her voice, is a custom-designed, zither-like dan tranh with four additional strings (for a total of 20). Võ has honed extensive techniques: she uses a violin bow, a guitar effects box and various implements to strike the strings. Since many of the songs are in different keys, she brings several instruments on stage “so I do not have to torture the audience with retuning,” she says. The different instruments also allow her to assume various roles “to tell different stories and use different voices,” she says.\u003c/p>\n\u003cp>In many cases Võ collected her castmates along her wending trail of collaborations. She connected with Vahdat via Kronos Quartet and with Tunjie when LINES commissioned her to compose the score for the 2019 spring season. She quickly recognized that he possessed moves that didn’t hail from contemporary ballet. But even with King’s long history of setting dance to music from around the world, Tunjie had to dig deeply to embody the narratives sung in Vietnamese and Farsi.\u003c/p>\n\u003cp>“At first I was well out of my comfort zone,” Tunjie says. “Vân was asking that I approach it with some contemporary ballet, but more from a breakdancer or a popper’s viewpoint, challenging me to find out how I can express myself and the ideas in a different way. I so think I’m in a better position because of all the different music I’ve danced with LINES.” [aside postid='arts_13906176']\u003c/p>\n\u003cp>A few weeks before showtime, Võ sounded both anxious and elated about the impending performance, which is now sold out. Regularly meeting to rehearse, the artists were still nailing down details and honing the production. She’s hoping that \u003cem>Songs of Strength\u003c/em> takes on a life of its own beyond Saturday’s show, and that some of her collaborators get the chance to bring their own projects to Zellerbach.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have such incredible artists here,” Võ says. “Sometimes what we do can easily be overlooked. You think of hip-hop and East Oakland, it’s almost like in a different world. Taiko is so powerful compared to my delicate instrument. I’m proud to have them all on the same stage.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As one of the nation’s leading university-based arts presenters, Cal Performances boasts a century-long track record of bringing the world’s greatest performers to UC Berkeley. Perusing a Cal Perfs catalog can feel like planning a journey to Oz, with its tantalizing succession of shows that parachute audiences into scenes teeming with Technicolor creativity.\u003c/p>\n\u003cp>But after covering Cal Performances for a quarter century, it’s still hard to account for its lack of initiative when it comes to programming local artists. With apologies to the Sunflower State, the Bay Area ain’t Kansas. The international array of world-class choreographers, musicians, composers and multi-disciplinary performers residing here tends to fly under the organization’s radar, which is why Saturday’s world premiere \u003ca href=\"https://calperformances.org/events/2021-22/new-music/van-anh-vo-blood-moon-orchestra-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Songs of Strength\u003c/em>\u003c/a> at Zellerbach Hall feels like Cal Perfs suddenly woke from a fever dream eyes wide with wonder to declare earnestly, “There’s no place like home!”\u003c/p>\n\u003cp>Created by Hanoi-born composer and \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese traditional music master Vân-Ánh Võ\u003c/a>, \u003cem>Songs of Strength\u003c/em> is a three-part suite championing women’s resilience and independence with texts in English, Farsi and Vietnamese. More than polyglot, the production is kaleidoscopic, seeking to elucidate universal themes about the struggle for liberation by spinning the artists into unfamiliar terrain. Võ is the overarching conceptualist, but she’s spotlighting several leading Bay Area musicians, including Iranian singer/songwriter Mahsa Vahdat, breakdancer Babatunji “Tunjie” Johnson (who’s also a member of Alonzo King LINES Ballet) and \u003ca href=\"https://www.kqed.org/arts/13878382/kev-choices-social-distancing-album-captures-four-weeks-of-hope-and-grief\" target=\"_blank\" rel=\"noopener noreferrer\">Kev Choice\u003c/a>, a rapper and jazz-steeped pianist with a long track record as a creative catalyst.\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/8y02Rv8sQzw'\n title='//www.youtube.com/embed/8y02Rv8sQzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Musically, it’s definitely outside the normal scope of what I’d rap over as a hip-hop artist,” says Choice, who contributes to four pieces throughout \u003cem>Songs of Strength\u003c/em>. “I wanted to contribute as a lyricist, but not force hip-hop into it. The topics are very socially conscious, focusing on liberation and freedom. One piece is inspired by a Maya Angelou poem, where Vân is singing in Vietnamese and I’m rapping in English. And as an MC there’s some space for me to improvise, using freestyle technique.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Võ often performs for Vietnamese communities around California, but she’s also eagerly sought out collaborators who know little of her homeland. Her commitment to incorporating other traditions, languages and musical practices into her music flows from her sense of herself as a work in progress, “a traditional artist still taking classes with my masters,” Võ says during a video call from her home in the El Cerrito hills.\u003c/p>\n\u003cp>“I never think I can finish learning,” she says. “They provide a time machine to go back to the past, and I have to create music that reflects my thinking and future generations.”\u003c/p>\n\u003cp>At their best, the encounters are win-win, an exchange that breaks down barriers between people and deepens one’s art. “I can get influences and give influences, which can help us get closer,” she says. “A lot of people are afraid of sharing. They think whatever they have will be stolen away. I’m not afraid of that. I never use any technique or school of thought to replace what I am, only to make my technique and instrument better.”\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/5cZgkQsfqhE'\n title='//www.youtube.com/embed/5cZgkQsfqhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Saturday’s concert is part of Cal Performances’ \u003cem>Illuminations:\u003c/em> “Place and Displacement” series, which features performances, public programs and academic events designed to investigate the ripples of migration and demographic change. No stranger to Cal Performances audiences, Võ has performed at Zellerbach Hall several times in collaboration with Kronos Quartet, most recently in 2018 in the fully staged opera \u003cem>My Lai\u003c/em> by composer Jonathan Berger and librettist Harriet Scott Chessman.\u003c/p>\n\u003cp>A rare exception to Cal Performances’ inattention to Bay Area-based artists, Kronos has been a primary conduit bringing local luminaries into the organization’s orbit (including Mahsa Vahdat, who also performs with the illustrious new music ensemble \u003ca href=\"https://calperformances.org/events/2021-22/new-music/kronos-quartet-2122/\" target=\"_blank\" rel=\"noopener noreferrer\">Thursday at Zellerbach\u003c/a>). With \u003cem>Songs of Strength\u003c/em>, Võ is holding the door opened by Kronos and ushering in a bevy of artists who’ve never played a Cal Performances engagement.\u003c/p>\n\u003cp>\u003cem>Songs of Strength\u003c/em> features Võ’s Blood Moon Orchestra, which may sound like a grand designation for a quartet. But her wildly disparate cast of East Bay artists can create sumptuously dynamic musical settings, building on the singular rhythm section tandem of Oakland taiko drummer Jimi Nakagawa and Berkeley electric bassist Kai Eckhardt. Eckhardt is a co-founder of the jam band Garaj Mahal, and has toured and recorded with heavyweights like guitarist John McLaughlin, tabla maestro Zakir Hussain and drummer Billy Cobham.\u003c/p>\n\u003cp>Blood Moon’s Joel Davel pivots between the rhythm section and melodic lead, providing orchestral accompaniment on marimba lumina, an electronic instrument with a limitless range of sonic possibilities. Võ spent several years scouting for the right percussionist or marimba player before she caught Davel performing with guitarist and composer Paul Dresher.\u003c/p>\n\u003cp>“I loved what he did,” she recalls. “He’s another person who wants to make his own instrument new, just like me. We find a lot in common. Let’s work together to create even more new sounds.”\u003c/p>\n\u003cfigure id=\"attachment_13825663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/12-800x533.jpg\" alt=\"Kev Choice, ever animated, performs at an event in West Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/12-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice performs at an event in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She plays a number of traditional instruments but her primary musical vehicle, besides her voice, is a custom-designed, zither-like dan tranh with four additional strings (for a total of 20). Võ has honed extensive techniques: she uses a violin bow, a guitar effects box and various implements to strike the strings. Since many of the songs are in different keys, she brings several instruments on stage “so I do not have to torture the audience with retuning,” she says. The different instruments also allow her to assume various roles “to tell different stories and use different voices,” she says.\u003c/p>\n\u003cp>In many cases Võ collected her castmates along her wending trail of collaborations. She connected with Vahdat via Kronos Quartet and with Tunjie when LINES commissioned her to compose the score for the 2019 spring season. She quickly recognized that he possessed moves that didn’t hail from contemporary ballet. But even with King’s long history of setting dance to music from around the world, Tunjie had to dig deeply to embody the narratives sung in Vietnamese and Farsi.\u003c/p>\n\u003cp>“At first I was well out of my comfort zone,” Tunjie says. “Vân was asking that I approach it with some contemporary ballet, but more from a breakdancer or a popper’s viewpoint, challenging me to find out how I can express myself and the ideas in a different way. I so think I’m in a better position because of all the different music I’ve danced with LINES.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few weeks before showtime, Võ sounded both anxious and elated about the impending performance, which is now sold out. Regularly meeting to rehearse, the artists were still nailing down details and honing the production. She’s hoping that \u003cem>Songs of Strength\u003c/em> takes on a life of its own beyond Saturday’s show, and that some of her collaborators get the chance to bring their own projects to Zellerbach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland Artists Organize a Town Hall to Shape the City Budget",
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"content": "\u003cp>With the grief and isolation of the pandemic, many have referred to artists as “second responders” to the crisis. It was the creative people in our communities, after all, whose music, poetry and murals got us through this dark time. And in a more literal sense, artists were often on the forefront of protests and mutual aid efforts, advocating for racial justice and community care.\u003c/p>\n\u003cp>In that spirit, a group of Oakland artists wants to help shape the city’s 2021–23 budget, and they’re planning a virtual town hall to advocate for themselves and their communities on May 25.\u003c/p>\n\u003cp>Right now, Oakland residents have an opportunity to give their input before the next city budget is set in stone. Mayor Libby Schaaf published her \u003ca href=\"https://stories.opengov.com/oaklandca/published/2O53-Vkqy\" target=\"_blank\" rel=\"noopener noreferrer\">budget proposal\u003c/a> on May 7, and it includes a plan to allocate $448,731 for arts grants and events in the 2021–22 fiscal year and $573,930 in 2022–23. More controversially, her budget proposal \u003ca href=\"https://oaklandside.org/2021/05/07/mayor-libby-schaaf-2021-2023-oakland-budget-proposal-police-reimagine/\" target=\"_blank\" rel=\"noopener noreferrer\">seeks to increase police spending by 8%\u003c/a> at a time when many community advocates have called to reallocate funds from the police to social services. The city council will need to approve the final budget by June 30, and council members are currently soliciting feedback from their constituents. [aside postid='news_11873608']\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/artists-in-action-virtual-town-hall-on-the-future-of-oakland-artists-tickets-154646476775\" target=\"_blank\" rel=\"noopener noreferrer\">Artists in Action\u003c/a> virtual town hall on May 25 invites participants to bring their ideas and voices, and join a slate of artists and activists advocating for racial and economic justice. Speakers include pianist and MC Kev Choice, who is on the Oakland Cultural Affairs Commission; artist and activist RyanNicole; liz suk of Oakland Rising, an organization that advocates for low-income people of color; James Burch of the Anti Police-Terror Project and Defund Police Coalition; artist Favianna Rodriguez, who is president of the Center for Cultural Power; and many more.\u003c/p>\n\u003cp>More details about the town hall can be found \u003ca href=\"https://www.eventbrite.com/e/artists-in-action-virtual-town-hall-on-the-future-of-oakland-artists-tickets-154646476775\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the grief and isolation of the pandemic, many have referred to artists as “second responders” to the crisis. It was the creative people in our communities, after all, whose music, poetry and murals got us through this dark time. And in a more literal sense, artists were often on the forefront of protests and mutual aid efforts, advocating for racial justice and community care.\u003c/p>\n\u003cp>In that spirit, a group of Oakland artists wants to help shape the city’s 2021–23 budget, and they’re planning a virtual town hall to advocate for themselves and their communities on May 25.\u003c/p>\n\u003cp>Right now, Oakland residents have an opportunity to give their input before the next city budget is set in stone. Mayor Libby Schaaf published her \u003ca href=\"https://stories.opengov.com/oaklandca/published/2O53-Vkqy\" target=\"_blank\" rel=\"noopener noreferrer\">budget proposal\u003c/a> on May 7, and it includes a plan to allocate $448,731 for arts grants and events in the 2021–22 fiscal year and $573,930 in 2022–23. More controversially, her budget proposal \u003ca href=\"https://oaklandside.org/2021/05/07/mayor-libby-schaaf-2021-2023-oakland-budget-proposal-police-reimagine/\" target=\"_blank\" rel=\"noopener noreferrer\">seeks to increase police spending by 8%\u003c/a> at a time when many community advocates have called to reallocate funds from the police to social services. The city council will need to approve the final budget by June 30, and council members are currently soliciting feedback from their constituents. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/artists-in-action-virtual-town-hall-on-the-future-of-oakland-artists-tickets-154646476775\" target=\"_blank\" rel=\"noopener noreferrer\">Artists in Action\u003c/a> virtual town hall on May 25 invites participants to bring their ideas and voices, and join a slate of artists and activists advocating for racial and economic justice. Speakers include pianist and MC Kev Choice, who is on the Oakland Cultural Affairs Commission; artist and activist RyanNicole; liz suk of Oakland Rising, an organization that advocates for low-income people of color; James Burch of the Anti Police-Terror Project and Defund Police Coalition; artist Favianna Rodriguez, who is president of the Center for Cultural Power; and many more.\u003c/p>\n\u003cp>More details about the town hall can be found \u003ca href=\"https://www.eventbrite.com/e/artists-in-action-virtual-town-hall-on-the-future-of-oakland-artists-tickets-154646476775\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When it comes to creative collaborations, \u003ca href=\"https://www.vananhvo.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Vân-Ánh Võ\u003c/a> often acts as a conduit between ideas, musicians and sounds from California to Vietnam. Coaxing melodies of hope and heartbreak from her 16-string đàn tranh, her technical mastery and moving compositions have captivated audiences at the Yerba Buena Center for the Arts in San Francisco, the Kennedy Center in Washington, D.C. and even Barack Obama’s White House.\u003c/p>\n\u003cp>So, like a lot of artists, the Fremont musician found herself feeling unmoored when the pandemic interrupted her flow of rehearsals and performances. “In June I felt like I was frozen,” she recalls. “I couldn’t do anything, with everything dropping around me. As the [bandleader], I have to deal with all the cancellations and all my ensemble’s needs. It’s sad, it’s very sad; it’s confusing and frustrating.”\u003c/p>\n\u003cp>“By July I decided to try to get out of that frozen box I was in and try to see if I can keep moving,” she continues. “I found myself drifting or floating. And that’s when I decided to write music again.”\u003c/p>\n\u003cp>But even while she attempted to keep herself and her ensemble motivated, Võ found herself increasingly discouraged by the limitations of working over Zoom. Finally, she turned a corner earlier this year, when San Jose Jazz commissioned her to write and perform a new piece debuting on May 6 for its \u003ca href=\"https://sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">New Works Fest\u003c/a>, which kicks off online this week on April 29.\u003c/p>\n\u003cp>https://youtu.be/88THC7Gi5Pg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The piece Võ wrote and recorded for the festival is a thundering, cathartic one called “Fire,” featuring taiko drummer Jimi Nakagawa and marimba lumina player Joel Davel. In the piece, her đàn bầu playing is alternately yearning, anxious and furious. She pauses to emphatically recite a poem in Vietnamese by 18th-century poet Hồ Xuân Hương, a chant that evokes an awe of the natural world.\u003c/p>\n\u003cp>“The concept is that I myself and all of us have been going through a very difficult time. … But that doesn’t mean it will stop us from being creative, being hopeful and trying to move on,” Võ explains. “In our culture, fire destroys but also gives new life for new ideas.” [aside postid='arts_13895321']\u003c/p>\n\u003cp>Commissioning original music is new for San Jose Jazz, which is best known for putting on live events like its popular Winter and Summer Fests. For this endeavor, the organization awarded grants to 33 musicians with its Jazz Aid Fund, organized in response to COVID. The artists were selected by a panel of experts including musicians, events presenters and journalists (including regular KQED Arts & Culture contributor Andrew Gilbert).\u003c/p>\n\u003cp>https://youtu.be/eSyYinz975w\u003c/p>\n\u003cp>“The good thing is that our influencers came up with some names we’ve never heard of before,” says artistic director Bruce Labadie of the panel’s selections. “And so now we have a whole list of new artists to work with in the future when we get back to live performances.” [aside postid='arts_13893043']\u003c/p>\n\u003cp>Eleven of the artists hail from the Bay Area. And like Võ, many don’t work in strictly jazz per se. Pianist Javier Santiago, for instance, blends jazz and beat-making, and sometimes invites rappers on to his songs as guest vocalists. Others, like Howard Wiley and Kev Choice, have toured with major artists like Lauryn Hill, and are also fluent in soul, R&B and—in Choice’s case—classical.\u003c/p>\n\u003cp>April 29 through May 8, San Jose Jazz will debut performances that some of the grantees recorded in its new Break Room, a streaming studio that will double as an intimate concert space when indoor shows resume at the venue. In the meantime, fans can catch recorded performances by Võ, Santiago, Choice and Wiley, as well as Oran Etkin, Tammy Hall, Ten Spencer, Chris Cain, Claudia Villela, Justin Ouellet, Robbie Benson and Ian Santillano. Online performances are ticketed, and the public can also watch them for free in the form of projections on the side of the San Jose Jazz headquarters at South 1st and San Carlos Streets.\u003c/p>\n\u003cp>https://youtu.be/uWhphOSKEu0\u003c/p>\n\u003cp>“[The project] gives me hope that we’ll come back, and when we come back we’ll come back stronger,” Võ says. “And the honor of it overrides the actual financial award.”\u003c/p>\n\u003cp>For other artists, the commission became a platform to reflect on the pandemic’s mental and spiritual toll. “It made me really have to look and dig deep for some faith in the way the world was turning out,” says \u003ca href=\"http://www.javiersantiagomusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Santiago\u003c/a>, whose performance will stream alongside Võ’s on May 6.\u003c/p>\n\u003cp>Santiago says he hit a slump during the winter after months without live shows, which were how he previously made a living. He composed his light, soulful and somewhat funky piece, “The Light That Awaits Us,” as a way to summon “the patience and perseverance to get through this.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/howardwileysax?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Howard Wiley\u003c/a>’s new song, aptly titled “The Never Ending Year,” also looks to make meaning from the trauma of the pandemic. “The first part of the composition is the state of not knowing, not being able to do so many things that are vital—or what we perceived as being vital—for us as artists and people and community,” says Wiley, whose performance screens on May 8.\u003c/p>\n\u003cp>https://youtu.be/OWPwkLvfSlo\u003c/p>\n\u003cp>The second movement of Wiley’s composition reflects another truth that gave him perspective. “The unrelenting resilience of the creative spirit is amazing,” he says. “So much was going on in our lives last year, and yet we still found ways to creatively express [ourselves]. … That is the optimism—that is my favorite part about jazz music.”\u003c/p>\n\u003cp>Wiley misses Friday nights at Cafe Stritch, another cornerstone of San Jose’s jazz scene he says was often “lit to death” with music and dancing in the before times. But he’s encouraged that an institution like San Jose Jazz is doing its part to keep the music playing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s a creative thing that constantly has to be encouraged replenished,” Wiley says. “You have to constantly turn the soil and aerate it, so you have to do that with the music and the art.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eleven of the artists hail from the Bay Area. And like Võ, many don’t work in strictly jazz per se. Pianist Javier Santiago, for instance, blends jazz and beat-making, and sometimes invites rappers on to his songs as guest vocalists. Others, like Howard Wiley and Kev Choice, have toured with major artists like Lauryn Hill, and are also fluent in soul, R&B and—in Choice’s case—classical.\u003c/p>\n\u003cp>April 29 through May 8, San Jose Jazz will debut performances that some of the grantees recorded in its new Break Room, a streaming studio that will double as an intimate concert space when indoor shows resume at the venue. In the meantime, fans can catch recorded performances by Võ, Santiago, Choice and Wiley, as well as Oran Etkin, Tammy Hall, Ten Spencer, Chris Cain, Claudia Villela, Justin Ouellet, Robbie Benson and Ian Santillano. Online performances are ticketed, and the public can also watch them for free in the form of projections on the side of the San Jose Jazz headquarters at South 1st and San Carlos Streets.\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/uWhphOSKEu0'\n title='//www.youtube.com/embed/uWhphOSKEu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“[The project] gives me hope that we’ll come back, and when we come back we’ll come back stronger,” Võ says. “And the honor of it overrides the actual financial award.”\u003c/p>\n\u003cp>For other artists, the commission became a platform to reflect on the pandemic’s mental and spiritual toll. “It made me really have to look and dig deep for some faith in the way the world was turning out,” says \u003ca href=\"http://www.javiersantiagomusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Santiago\u003c/a>, whose performance will stream alongside Võ’s on May 6.\u003c/p>\n\u003cp>Santiago says he hit a slump during the winter after months without live shows, which were how he previously made a living. He composed his light, soulful and somewhat funky piece, “The Light That Awaits Us,” as a way to summon “the patience and perseverance to get through this.”\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/howardwileysax?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Howard Wiley\u003c/a>’s new song, aptly titled “The Never Ending Year,” also looks to make meaning from the trauma of the pandemic. “The first part of the composition is the state of not knowing, not being able to do so many things that are vital—or what we perceived as being vital—for us as artists and people and community,” says Wiley, whose performance screens on May 8.\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/OWPwkLvfSlo'\n title='//www.youtube.com/embed/OWPwkLvfSlo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second movement of Wiley’s composition reflects another truth that gave him perspective. “The unrelenting resilience of the creative spirit is amazing,” he says. “So much was going on in our lives last year, and yet we still found ways to creatively express [ourselves]. … That is the optimism—that is my favorite part about jazz music.”\u003c/p>\n\u003cp>Wiley misses Friday nights at Cafe Stritch, another cornerstone of San Jose’s jazz scene he says was often “lit to death” with music and dancing in the before times. But he’s encouraged that an institution like San Jose Jazz is doing its part to keep the music playing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"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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},
"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
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"source": "Deutsche Welle"
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"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
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},
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"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.",
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"officialWebsiteLink": "http://latinousa.org/",
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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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"live-from-here-highlights": {
"id": "live-from-here-highlights",
"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
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},
"link": "/radio/program/live-from-here-highlights",
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"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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},
"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/",
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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": 13
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"id": "morning-edition",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"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": {
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"order": 12
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
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"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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},
"link": "/radio/program/on-the-media",
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"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
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"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/pbs-newshour",
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"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
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