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She holds a BA in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1716337520","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is an educator, host and writer with KQED Arts.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1716337520","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13937331":{"type":"posts","id":"arts_13937331","meta":{"index":"posts_1716263798","site":"arts","id":"13937331","score":null,"sort":[1698874300000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1698874300,"format":"standard","title":"When Family Business Becomes Big Business","headTitle":"When Family Business Becomes Big Business | KQED","content":"\u003cp>It’s the first Sunday of October, and \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> jumps onto the stage, framed by the backyard pergola beneath the Vallejo sun. With a huge smile, he rips off his brown cape adorned with a \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\">Good Compenny\u003c/a> logo and and points his finger toward the crowd.\u003c/p>\n\u003cp>“Game Sevennnnn…,” he says, as the 200-person crowd roars, cameras click and smiles spread on the faces of fans, many holding merchandise bags and wearing Good Compenny T-shirts that read “This is a Family Business.” Indeed, the scene is infused with family: babies are bounced on their parents’ laps, children laugh, and a bouncy house in the front whirrs.\u003c/p>\n\u003cp>[aside postID='arts_13923938']For LaRussell, 29, this is the final sold-out “pergola” show of 2023. These one-of-a-kind concerts, held in his parents’ backyard, have brought over a thousand guests to Vallejo this summer alone to experience LaRussell’s lyricism — to say nothing of the delicious food, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\">other talented artists’ performances\u003c/a>, and the chance to watch LaRussell’s collective Good Compenny make history.\u003c/p>\n\u003cfigure id=\"attachment_13937334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tickets to LaRussell’s backyard concerts are offered on a “proud to pay” basis: rather than a conventional Ticketmaster checkout with additional fees, fans simply make an offer of what they’re willing to pay. Demand is high; each of his backyard shows in 2023 has sold out. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell’s influence has grown significantly this past year. He’s sold out shows across the country, accumulated \u003ca href=\"https://www.instagram.com/larussell/\">nearly a million followers on Instagram\u003c/a>, performed at major events and festivals and championed Vallejo every step of the way — all independently.\u003c/p>\n\u003cp>And while LaRussell’s community support has never been greater, there are some new faces here in the backyard audience: music executives. LaRussell has often been transparent about his business practices, and partway through the show, he makes a sudden announcement. He’s considering signing with a major label.\u003c/p>\n\u003ch2>From the backyard to the boardroom\u003c/h2>\n\u003cp>The executives in the backyard, LaRussell later clarifies, work for Def Jam — the legendary hip-hop record label that’s owned by Universal Music Group, the largest music company in the world. And while signing a record deal with Def Jam would mean a sizable cash advance — \u003ca href=\"https://twitter.com/LaRussellGC/status/1712903852838486180\">the hypothetical figure he’s cited is $1 million\u003c/a> — it would also mark a surprising break from LaRussell’s reputation as a staunchly independent artist.\u003c/p>\n\u003cfigure id=\"attachment_13937335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell’s been visited in Vallejo by luminaries like NBA star Stephen Jackson, rapper Xzibit and local hero Too Short, all drawn to his incessant drive and independent business model. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few years ago, LaRussell began \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">reimagining how creatives are compensated\u003c/a>. His “proud to pay” model allows fans to determine their own price, subject to approval, for his tickets and merchandise. He’s also known for “splitting the pie” — sharing royalties not only with those involved in the creative process, but interested fans who want to invest across LaRussell’s income streams, including recordings, merchandise and shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jason Hayes, a photographer and creative director who frequently collaborates with LaRussell, says that without the early profit share in projects he contributed to, he periodically wouldn’t have had money in his pocket. \u003c/p>\n\u003cp>“It kept gas in the tank and allowed me to go out and continue making money,” says Hayes.\u003c/p>\n\u003cp>https://twitter.com/LaRussellGC/status/1712903852838486180\u003c/p>\n\u003cp>LaRussell also utilizes a service that lets people buy his albums before they stream on major platforms; he characterizes it as a contemporary version of \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">selling records out the trunk\u003c/a>. For his \u003cem>Family Business\u003c/em> album, released in October, LaRussell sold over a thousand albums this way, directly to fans, generating more than $25,000 in sales.\u003c/p>\n\u003cp>Because of this audience involvement, signing with a major label would affect LaRussell’s fans, too. After the show in the backyard, some approached him about it. One expressed unwavering support, whether LaRussell stays independent or not. Another was deeply concerned, telling him that he simply \u003cem>can’t\u003c/em> sign, and that he means too much to the independent community.\u003c/p>\n\u003cfigure id=\"attachment_13937336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jayla Baxter (front left) and Tenaya Carter (black and white sweatshirt) with the crowd at LaRussell’s backyard concert on Oct. 1, 2023. Both Baxter and Carter are gold members with lifetime membership to Good Compenny events. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell, who the day before posted that “\u003ca href=\"https://twitter.com/LaRussellGC/status/1708212575358619955\">I could just sign a deal, but that’s not where my heart lies\u003c/a>,” listened to every comment. “I really do feel like an artist of the people,” LaRussell told me later. “I do take into consideration how the people are affected, because I know they’re inspired by my journey too.”\u003c/p>\n\u003cp>As for me, I kept thinking of what I’d seen just 24 hours earlier, 3,000 miles away. \u003c/p>\n\u003ch2>‘Made it off them cotton fields’\u003c/h2>\n\u003cp>The day prior to the show, I was in rural North Carolina with fire ants running across my toes along a path lined with red bricks inscribed with dedications like “Dennis, No Age Given, Enslaved,” “Rowena, No Age or Gender, Enslaved,” and “Mary, Female, Aged 4 or 6, Enslaved.” Further down the path stood a magnolia tree where it’s believed the whipping post once stood.\u003c/p>\n\u003cp>[aside postID='arts_13906706']This was the Franklinton Center at Bricks, a former “breaking” plantation where enslaved people were taken if they were considered disobedient. I was there with grassroots organizations from across the country to capture multimedia stories of those doing work in public schools: protecting queer students in class, tackling the school-to-prison pipeline, advocating for language equity, demanding proper funding and more. \u003c/p>\n\u003cp>As I spoke with college students from Florida, high school students from Georgia, parents from North Carolina and teachers from Louisiana, I felt hope for what could come with so many amazing people working toward shared goals. At the same time, I was overcome with grief for every person who had once walked on this land, bound to its edges.\u003c/p>\n\u003cfigure id=\"attachment_13937342\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Singers Jane Handcock, Shanté and Jazs, who work with LaRussell, pose at his backyard show on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the conference, I took a six-hour flight and drove straight to LaRussell’s family home, where I’d watched him perform multiple backyard shows before. But this time, when he rapped “made it off them cotton fields, now we’re on them stages,” the sentiment resonated more than ever.\u003c/p>\n\u003cp>I’d talked with so many people in North Carolina about building a strong community and staying authentic while growing equity, autonomy and agency — a rare thing, which LaRussell has clearly achieved. And to some fans and supporters, signing with a global conglomerate would be in direct opposition to what he stands for. What happens to LaRussell now? What happens to Good Compenny? Is he selling out?\u003c/p>\n\u003cfigure id=\"attachment_13937338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, when asked about interest from Def Jam, says he’ll only sign a deal if the conditions are right. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Building Disneyland at home in Vallejo\u003c/h2>\n\u003cp>When we talk later, LaRussell’s reasoning is straightforward: he needs assistance to achieve his dreams of reaching as many people as he aspires to within his desired timeframe. And, as he’s continued to expand Good Compenny, he’s now at a crossroads. \u003c/p>\n\u003cp>I’m here at the compound—a residential and commercial unit in Vallejo where LaRussell moved this year with five of his team members. Having gotten his start in the family garage, LaRussell continuously talks about building his own “Disneyland,” and the compound is a part of it. LaRussell plans to turn it into an all-in-one creative hub, with a storefront, editing lab, photo studio, recording studio and even housing. To get it off the ground, it will cost him an estimated $250,000.\u003c/p>\n\u003cp>Manny, the owner of Momo’s — LaRussell’s favorite restaurant in Vallejo — is here too, and he asks the same questions that have been on my mind.\u003c/p>\n\u003cp>“So what happens to Good Compenny? Is everything going to change?” Manny says.\u003c/p>\n\u003cfigure id=\"attachment_13937340\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs on his backyard stage on Oct. 1, 2023, with Sacramento neighborhood advocate Jordan McGowan at left. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell explains that were he to sign a deal, it would be with him as an artist, and not a subsidiary label deal with Good Compenny, which is a 501(c)(3) organization. His cash advance would be a welcome relief after years of funding his career out of his own pocket, and could help him get projects off the ground. He also met directly with the president of Def Jam, with whom he had a candid conversation, and left feeling that his value was understood both inside and outside the recording booth.\u003c/p>\n\u003cp>At the same time, LaRussell isn’t naive. He’s cognizant of the music industry’s hierarchy. Def Jam has a Black president and a largely Black roster, but Universal Music Group, its parent company, is run by a white CEO.\u003c/p>\n\u003cp>“That’s the thing that makes me a little nervous about going into the system too,” LaRussell says. “Because every time we build something substantial as Black people, we sell it to white people.”\u003c/p>\n\u003cfigure id=\"attachment_13937386\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shanté, who works with LaRussell, performs at the backyard show on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tietta Mitchell, LaRussell’s partner and manager, has provided consistent support for LaRussell’s success as he navigates the complexities of fame and business. She’s cautious about any partnership LaRussell enters.\u003c/p>\n\u003cp>“I’m never super hasty on any of the deals that we do, regardless of if it’s a major label or not,” she explains. “Once you do a deal with somebody, you’re kind of in bed with them for whatever that deliverable time is.”\u003c/p>\n\u003cp>Her primary concerns revolve around preserving LaRussell’s vision and creative control, and ensuring his peace. She also emphasizes that LaRussell’s success isn’t reliant on securing a deal; his accomplishments to date prove it. Any potential deal with a label, she says, will only be pursued if it aligns with the values and vision of Good Compenny.\u003c/p>\n\u003cfigure id=\"attachment_13937339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell in his backyard, Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whatever happens in the next couple months — LaRussell should know whether or not he’s signing to Def Jam by the end of the year — the fans will remain a large part of that vision.\u003c/p>\n\u003cp>“I woke up this morning and I was in a slump,” LaRussell tells me at his house. “I was kind of sad. And a lady last night sent me $50,000, a wire. And I got up off my ass because I was like, ‘People believe in you,’ right?” said LaRussell.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>We wrap up our conversation, LaRussell jumps off his couch and returns to the recording booth in the house, with his roommate and good friend Chow behind the computer, continuing to work on his next album — whatever label it might be on.\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1916,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":33},"modified":1705003150,"excerpt":"LaRussell, the Bay Area's most resourceful independent artist, is in talks with Def Jam Records about signing a deal.","headData":{"twImgId":"","twTitle":"What Happens to LaRussell if He Signs to Def Jam?","socialTitle":"Vallejo's LaRussell Considers Signing to Def Jam %%page%% %%sep%% KQED","ogTitle":"What Happens to LaRussell if He Signs to Def Jam?","ogImgId":"","twDescription":"The Bay Area's most resourceful independent artist is considering a major label deal.","description":"LaRussell, the Bay Area's most resourceful independent artist, is in talks with Def Jam Records about signing a deal.","title":"Vallejo's LaRussell Considers Signing to Def Jam | KQED","ogDescription":"The Bay Area's most resourceful independent artist is considering a major label deal.","schema":{"@context":"http://schema.org","@type":"Article","headline":"When Family Business Becomes Big Business","datePublished":"2023-11-01T14:31:40-07:00","dateModified":"2024-01-11T11:59:10-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"larussell-vallejo-def-jam-record-deal","status":"publish","templateType":"standard","nprByline":"Kayla Henderson-Wood","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13937331/larussell-vallejo-def-jam-record-deal","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the first Sunday of October, and \u003ca href=\"https://www.kqed.org/arts/tag/larussell\">LaRussell\u003c/a> jumps onto the stage, framed by the backyard pergola beneath the Vallejo sun. With a huge smile, he rips off his brown cape adorned with a \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\">Good Compenny\u003c/a> logo and and points his finger toward the crowd.\u003c/p>\n\u003cp>“Game Sevennnnn…,” he says, as the 200-person crowd roars, cameras click and smiles spread on the faces of fans, many holding merchandise bags and wearing Good Compenny T-shirts that read “This is a Family Business.” Indeed, the scene is infused with family: babies are bounced on their parents’ laps, children laugh, and a bouncy house in the front whirrs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>For LaRussell, 29, this is the final sold-out “pergola” show of 2023. These one-of-a-kind concerts, held in his parents’ backyard, have brought over a thousand guests to Vallejo this summer alone to experience LaRussell’s lyricism — to say nothing of the delicious food, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\">other talented artists’ performances\u003c/a>, and the chance to watch LaRussell’s collective Good Compenny make history.\u003c/p>\n\u003cfigure id=\"attachment_13937334\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tickets to LaRussell’s backyard concerts are offered on a “proud to pay” basis: rather than a conventional Ticketmaster checkout with additional fees, fans simply make an offer of what they’re willing to pay. Demand is high; each of his backyard shows in 2023 has sold out. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell’s influence has grown significantly this past year. He’s sold out shows across the country, accumulated \u003ca href=\"https://www.instagram.com/larussell/\">nearly a million followers on Instagram\u003c/a>, performed at major events and festivals and championed Vallejo every step of the way — all independently.\u003c/p>\n\u003cp>And while LaRussell’s community support has never been greater, there are some new faces here in the backyard audience: music executives. LaRussell has often been transparent about his business practices, and partway through the show, he makes a sudden announcement. He’s considering signing with a major label.\u003c/p>\n\u003ch2>From the backyard to the boardroom\u003c/h2>\n\u003cp>The executives in the backyard, LaRussell later clarifies, work for Def Jam — the legendary hip-hop record label that’s owned by Universal Music Group, the largest music company in the world. And while signing a record deal with Def Jam would mean a sizable cash advance — \u003ca href=\"https://twitter.com/LaRussellGC/status/1712903852838486180\">the hypothetical figure he’s cited is $1 million\u003c/a> — it would also mark a surprising break from LaRussell’s reputation as a staunchly independent artist.\u003c/p>\n\u003cfigure id=\"attachment_13937335\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-7-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell’s been visited in Vallejo by luminaries like NBA star Stephen Jackson, rapper Xzibit and local hero Too Short, all drawn to his incessant drive and independent business model. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few years ago, LaRussell began \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">reimagining how creatives are compensated\u003c/a>. His “proud to pay” model allows fans to determine their own price, subject to approval, for his tickets and merchandise. He’s also known for “splitting the pie” — sharing royalties not only with those involved in the creative process, but interested fans who want to invest across LaRussell’s income streams, including recordings, merchandise and shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jason Hayes, a photographer and creative director who frequently collaborates with LaRussell, says that without the early profit share in projects he contributed to, he periodically wouldn’t have had money in his pocket. \u003c/p>\n\u003cp>“It kept gas in the tank and allowed me to go out and continue making money,” says Hayes.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1712903852838486180"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>LaRussell also utilizes a service that lets people buy his albums before they stream on major platforms; he characterizes it as a contemporary version of \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">selling records out the trunk\u003c/a>. For his \u003cem>Family Business\u003c/em> album, released in October, LaRussell sold over a thousand albums this way, directly to fans, generating more than $25,000 in sales.\u003c/p>\n\u003cp>Because of this audience involvement, signing with a major label would affect LaRussell’s fans, too. After the show in the backyard, some approached him about it. One expressed unwavering support, whether LaRussell stays independent or not. Another was deeply concerned, telling him that he simply \u003cem>can’t\u003c/em> sign, and that he means too much to the independent community.\u003c/p>\n\u003cfigure id=\"attachment_13937336\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-17-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jayla Baxter (front left) and Tenaya Carter (black and white sweatshirt) with the crowd at LaRussell’s backyard concert on Oct. 1, 2023. Both Baxter and Carter are gold members with lifetime membership to Good Compenny events. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell, who the day before posted that “\u003ca href=\"https://twitter.com/LaRussellGC/status/1708212575358619955\">I could just sign a deal, but that’s not where my heart lies\u003c/a>,” listened to every comment. “I really do feel like an artist of the people,” LaRussell told me later. “I do take into consideration how the people are affected, because I know they’re inspired by my journey too.”\u003c/p>\n\u003cp>As for me, I kept thinking of what I’d seen just 24 hours earlier, 3,000 miles away. \u003c/p>\n\u003ch2>‘Made it off them cotton fields’\u003c/h2>\n\u003cp>The day prior to the show, I was in rural North Carolina with fire ants running across my toes along a path lined with red bricks inscribed with dedications like “Dennis, No Age Given, Enslaved,” “Rowena, No Age or Gender, Enslaved,” and “Mary, Female, Aged 4 or 6, Enslaved.” Further down the path stood a magnolia tree where it’s believed the whipping post once stood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906706","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This was the Franklinton Center at Bricks, a former “breaking” plantation where enslaved people were taken if they were considered disobedient. I was there with grassroots organizations from across the country to capture multimedia stories of those doing work in public schools: protecting queer students in class, tackling the school-to-prison pipeline, advocating for language equity, demanding proper funding and more. \u003c/p>\n\u003cp>As I spoke with college students from Florida, high school students from Georgia, parents from North Carolina and teachers from Louisiana, I felt hope for what could come with so many amazing people working toward shared goals. At the same time, I was overcome with grief for every person who had once walked on this land, bound to its edges.\u003c/p>\n\u003cfigure id=\"attachment_13937342\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-39-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Singers Jane Handcock, Shanté and Jazs, who work with LaRussell, pose at his backyard show on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the conference, I took a six-hour flight and drove straight to LaRussell’s family home, where I’d watched him perform multiple backyard shows before. But this time, when he rapped “made it off them cotton fields, now we’re on them stages,” the sentiment resonated more than ever.\u003c/p>\n\u003cp>I’d talked with so many people in North Carolina about building a strong community and staying authentic while growing equity, autonomy and agency — a rare thing, which LaRussell has clearly achieved. And to some fans and supporters, signing with a global conglomerate would be in direct opposition to what he stands for. What happens to LaRussell now? What happens to Good Compenny? Is he selling out?\u003c/p>\n\u003cfigure id=\"attachment_13937338\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-26-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell, when asked about interest from Def Jam, says he’ll only sign a deal if the conditions are right. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Building Disneyland at home in Vallejo\u003c/h2>\n\u003cp>When we talk later, LaRussell’s reasoning is straightforward: he needs assistance to achieve his dreams of reaching as many people as he aspires to within his desired timeframe. And, as he’s continued to expand Good Compenny, he’s now at a crossroads. \u003c/p>\n\u003cp>I’m here at the compound—a residential and commercial unit in Vallejo where LaRussell moved this year with five of his team members. Having gotten his start in the family garage, LaRussell continuously talks about building his own “Disneyland,” and the compound is a part of it. LaRussell plans to turn it into an all-in-one creative hub, with a storefront, editing lab, photo studio, recording studio and even housing. To get it off the ground, it will cost him an estimated $250,000.\u003c/p>\n\u003cp>Manny, the owner of Momo’s — LaRussell’s favorite restaurant in Vallejo — is here too, and he asks the same questions that have been on my mind.\u003c/p>\n\u003cp>“So what happens to Good Compenny? Is everything going to change?” Manny says.\u003c/p>\n\u003cfigure id=\"attachment_13937340\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-33-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performs on his backyard stage on Oct. 1, 2023, with Sacramento neighborhood advocate Jordan McGowan at left. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LaRussell explains that were he to sign a deal, it would be with him as an artist, and not a subsidiary label deal with Good Compenny, which is a 501(c)(3) organization. His cash advance would be a welcome relief after years of funding his career out of his own pocket, and could help him get projects off the ground. He also met directly with the president of Def Jam, with whom he had a candid conversation, and left feeling that his value was understood both inside and outside the recording booth.\u003c/p>\n\u003cp>At the same time, LaRussell isn’t naive. He’s cognizant of the music industry’s hierarchy. Def Jam has a Black president and a largely Black roster, but Universal Music Group, its parent company, is run by a white CEO.\u003c/p>\n\u003cp>“That’s the thing that makes me a little nervous about going into the system too,” LaRussell says. “Because every time we build something substantial as Black people, we sell it to white people.”\u003c/p>\n\u003cfigure id=\"attachment_13937386\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-24-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shanté, who works with LaRussell, performs at the backyard show on Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tietta Mitchell, LaRussell’s partner and manager, has provided consistent support for LaRussell’s success as he navigates the complexities of fame and business. She’s cautious about any partnership LaRussell enters.\u003c/p>\n\u003cp>“I’m never super hasty on any of the deals that we do, regardless of if it’s a major label or not,” she explains. “Once you do a deal with somebody, you’re kind of in bed with them for whatever that deliverable time is.”\u003c/p>\n\u003cp>Her primary concerns revolve around preserving LaRussell’s vision and creative control, and ensuring his peace. She also emphasizes that LaRussell’s success isn’t reliant on securing a deal; his accomplishments to date prove it. Any potential deal with a label, she says, will only be pursued if it aligns with the values and vision of Good Compenny.\u003c/p>\n\u003cfigure id=\"attachment_13937339\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13937339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/LaRussell-Backyard-Residency-Show-7-Best-32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell in his backyard, Oct. 1, 2023. \u003ccite>(Jason Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whatever happens in the next couple months — LaRussell should know whether or not he’s signing to Def Jam by the end of the year — the fans will remain a large part of that vision.\u003c/p>\n\u003cp>“I woke up this morning and I was in a slump,” LaRussell tells me at his house. “I was kind of sad. And a lady last night sent me $50,000, a wire. And I got up off my ass because I was like, ‘People believe in you,’ right?” said LaRussell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We wrap up our conversation, LaRussell jumps off his couch and returns to the recording booth in the house, with his roommate and good friend Chow behind the computer, continuing to work on his next album — whatever label it might be on.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13937331/larussell-vallejo-def-jam-record-deal","authors":["byline_arts_13937331"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_10342","arts_10278","arts_831","arts_13246","arts_3800"],"featImg":"arts_13937341","label":"arts"},"arts_13936865":{"type":"posts","id":"arts_13936865","meta":{"index":"posts_1716263798","site":"arts","id":"13936865","score":null,"sort":[1698181003000]},"parent":0,"labelTerm":{"site":"arts","term":140},"blocks":[],"publishDate":1698181003,"format":"standard","title":"Berkeley’s Rexx Life Raj Provides Medicine for the Soul on 'California Poppy 3'","headTitle":"Berkeley’s Rexx Life Raj Provides Medicine for the Soul on ‘California Poppy 3’ | KQED","content":"\u003cp>It’s always a bright moment in the Bay Area whenever \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\">Rexx Life Raj\u003c/a> — Berkeley’s ascendant, bluesy rapper — drops a new album.\u003c/p>\n\u003cp>Over the past decade, Raj has been on a dynastic run of spiritual music-making. With each release, he’s built a trademark sound as an introspective, emotionally charged lyricist who can shift seamlessly from \u003ca href=\"https://www.youtube.com/watch?v=LGa1Gbt3ElA\">bragging about owning Teslas\u003c/a> to deeply \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">mourning the loss of his parents\u003c/a>.\u003c/p>\n\u003cp>Now, he returns with \u003ci>California Poppy 3\u003c/i>, the third installment in an ongoing series. The \u003ci>California Poppy\u003c/i> triumvirate spans more than six years of Raj’s life, and maintains a unifying sound and theme that feel like one endlessly expansive album, with each installment arriving a few years apart. With messages about self-love and coping through trauma, his music has become a sort of audio medicine for fans.\u003c/p>\n\u003cp>Featuring local rap stars with epic statures of their own like Kamaiyah, Damian Lillard and LaRussell, \u003cem>California Poppy 3\u003c/em> is as soulful and summery as Raj’s previous explorations on joyful West Coast living.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IsU51o2zyys\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Singles like “\u003ca href=\"https://www.youtube.com/watch?v=Opij5eEKNBM\">Dandelion Root\u003c/a>” exemplify the rapper’s sense of intentional living and aphoristic wisdom. Over an acoustic-washed instrumental, he scorns his generation’s addiction to lustful attention-seeking: “Slow motion better than no motion, gradual ascension… I can’t trust no [man] that free his morals to grab attention / After you done hoeing yourself out, what you gon’ tell your children?”\u003c/p>\n\u003cp>Across the album, Raj — a former football player — is like a sage village elder rhapsodizing about his mistakes, his accomplishments, and his aspirations for a brighter outcome. With a subdued style in contrast to the typical frequency of aggressively cocky rap, he’s carved out a clear and necessary lane in an overcrowded genre. Rather than overpowering the listener with empty production or unchecked egoism, his toned-down vocals are refreshing, uplifting and soul-repairing.\u003c/p>\n\u003cp>But the thing about Raj is that he knows how to flex, too. In the saucy video for “\u003ca href=\"https://www.youtube.com/watch?v=G_8fURKT_yE\">Backslide\u003c/a>,” he rides around Barcelona in foreign machinery while wearing a handwoven tie-dye hat and Makaveli T-shirt, displaying a hard-earned, lavish lifestyle. For a kid from Telegraph Avenue who just a few years ago rapped “Look, I ain’t never had shit / I always wanted more, though,” he’s certainly made it.\u003c/p>\n\u003cp>Just a few days ago, Rexx posted that “i’ve always had an idealized version of myself in my mind. life is the never ending journey to reach him.” In \u003cem>California Poppy 3\u003c/em>, he’s one step closer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rexx Life Raj’s release party for ‘California Poppy 3’ is on Sunday, Oct. 29, at Victory Hall (360 Ritch St., San Francisco) from 6 p.m. to 10 p.m. \u003ca href=\"https://partiful.com/e/gG7dUmvHnsRlDApLO7pw\">Details and RSVP here\u003c/a>.\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":498,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":12},"modified":1705003189,"excerpt":"With a 'state flower-turned-state of mind,' Rexx Life Raj delivers another soulfully therapeutic rap album.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"With a 'state flower-turned-state of mind,' Rexx Life Raj delivers another soulfully therapeutic rap album.","title":"Berkeley’s Rexx Life Raj Provides Medicine for the Soul on 'California Poppy 3' | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Berkeley’s Rexx Life Raj Provides Medicine for the Soul on 'California Poppy 3'","datePublished":"2023-10-24T13:56:43-07:00","dateModified":"2024-01-11T11:59:49-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"WpOldSlug":"berkeleys-rexx-life-raj-provides-medicine-for-the-soul-on-california-poppy-3","articleAge":"0","path":"/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always a bright moment in the Bay Area whenever \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\">Rexx Life Raj\u003c/a> — Berkeley’s ascendant, bluesy rapper — drops a new album.\u003c/p>\n\u003cp>Over the past decade, Raj has been on a dynastic run of spiritual music-making. With each release, he’s built a trademark sound as an introspective, emotionally charged lyricist who can shift seamlessly from \u003ca href=\"https://www.youtube.com/watch?v=LGa1Gbt3ElA\">bragging about owning Teslas\u003c/a> to deeply \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">mourning the loss of his parents\u003c/a>.\u003c/p>\n\u003cp>Now, he returns with \u003ci>California Poppy 3\u003c/i>, the third installment in an ongoing series. The \u003ci>California Poppy\u003c/i> triumvirate spans more than six years of Raj’s life, and maintains a unifying sound and theme that feel like one endlessly expansive album, with each installment arriving a few years apart. With messages about self-love and coping through trauma, his music has become a sort of audio medicine for fans.\u003c/p>\n\u003cp>Featuring local rap stars with epic statures of their own like Kamaiyah, Damian Lillard and LaRussell, \u003cem>California Poppy 3\u003c/em> is as soulful and summery as Raj’s previous explorations on joyful West Coast living.\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/IsU51o2zyys'\n title='//www.youtube.com/embed/IsU51o2zyys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Singles like “\u003ca href=\"https://www.youtube.com/watch?v=Opij5eEKNBM\">Dandelion Root\u003c/a>” exemplify the rapper’s sense of intentional living and aphoristic wisdom. Over an acoustic-washed instrumental, he scorns his generation’s addiction to lustful attention-seeking: “Slow motion better than no motion, gradual ascension… I can’t trust no [man] that free his morals to grab attention / After you done hoeing yourself out, what you gon’ tell your children?”\u003c/p>\n\u003cp>Across the album, Raj — a former football player — is like a sage village elder rhapsodizing about his mistakes, his accomplishments, and his aspirations for a brighter outcome. With a subdued style in contrast to the typical frequency of aggressively cocky rap, he’s carved out a clear and necessary lane in an overcrowded genre. Rather than overpowering the listener with empty production or unchecked egoism, his toned-down vocals are refreshing, uplifting and soul-repairing.\u003c/p>\n\u003cp>But the thing about Raj is that he knows how to flex, too. In the saucy video for “\u003ca href=\"https://www.youtube.com/watch?v=G_8fURKT_yE\">Backslide\u003c/a>,” he rides around Barcelona in foreign machinery while wearing a handwoven tie-dye hat and Makaveli T-shirt, displaying a hard-earned, lavish lifestyle. For a kid from Telegraph Avenue who just a few years ago rapped “Look, I ain’t never had shit / I always wanted more, though,” he’s certainly made it.\u003c/p>\n\u003cp>Just a few days ago, Rexx posted that “i’ve always had an idealized version of myself in my mind. life is the never ending journey to reach him.” In \u003cem>California Poppy 3\u003c/em>, he’s one step closer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rexx Life Raj’s release party for ‘California Poppy 3’ is on Sunday, Oct. 29, at Victory Hall (360 Ritch St., San Francisco) from 6 p.m. to 10 p.m. \u003ca href=\"https://partiful.com/e/gG7dUmvHnsRlDApLO7pw\">Details and RSVP here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936865/berkeleys-rexx-life-raj-administers-medicine-for-the-soul-on-california-poppy-3","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_69"],"tags":["arts_1270","arts_10278","arts_1558","arts_13246","arts_1983","arts_1146","arts_4506","arts_585"],"featImg":"arts_13905561","label":"arts_140"},"arts_13929248":{"type":"posts","id":"arts_13929248","meta":{"index":"posts_1716263798","site":"arts","id":"13929248","score":null,"sort":[1684857603000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1684857603,"format":"aside","title":"10 Bay Area Summer Concerts Not to Miss in 2023","headTitle":"10 Bay Area Summer Concerts Not to Miss in 2023 | KQED","content":"\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Feeling the sun’s warmth, sipping something cold and dancing with friends is life-giving. And we need more of that medicine after three years of pandemic living. Fortunately for Bay Area music fans, there’s plenty of opportunity to do all of the above with a summer calendar packed with festivals and concerts. The events we’ve rounded up range from $free.99 to splurge-worthy experiences to help you get out there and make the most of our warm(ish)-weather months.\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>\u003ca href=\"https://www.whatstba.com/creator/larussell\">LaRussell Live From the Pergola\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 4–Aug. 6, 2023\u003cbr>\nVallejo\u003cbr>\nPay what you want\u003c/i>\u003c/p>\n\u003cp>Don’t let the boyish grin and Crocs fool you — \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\">LaRussell\u003c/a>’s \u003ca href=\"https://youtu.be/8FP5sc687-I\">razor-sharp lyrics\u003c/a> and savvy business maneuvers command respect. Truly a man of the people, he’s built a successful brand by selling pay-what-you-want concert tickets, and transparently narrating his artistic journey on social media in real time. His grassroots momentum has caught the eye of crucial industry figures: most recently, he appeared on a \u003ca href=\"https://www.youtube.com/watch?v=ITgGDY_B6mI\">DJ Drama mixtape\u003c/a> alongside Lil Wayne, Lil Baby and Tyler, the Creator. It probably won’t be too much longer that his backyard can contain his growing fanbase, so consider his summer Live from the Pergola shows a special opportunity to see the rising Vallejo artist perform at his parents’ house, surrounded by his real-life friends and family.\u003c/p>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.summerofmusicsf.com/\">Summer of Music SF\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturdays, June 17–Sept. 2023\u003cbr>\nVarious locations, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local musicians need a leg up to rebound from the \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">many difficulties they’ve faced during the pandemic\u003c/a>. And so do small businesses in neighborhoods with dwindling foot traffic and empty storefronts. As part of the solution, local promoter \u003ca href=\"https://www.kqed.org/arts/13925590/noise-pop-festival-2023-review\">Noise Pop\u003c/a> and the nonprofit \u003ca href=\"https://www.civicspacefoundation.org/\">Civic Joy Fund\u003c/a> are hoping to create a positive feedback loop of fun to bolster San Francisco’s culture and economy. Their new Summer of Music SF concert series kicks off in June, with free shows to be announced in neighborhoods such as the Mission, the Castro, Chinatown, Bayview and more.\u003c/p>\n\u003cfigure id=\"attachment_13842757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_3471-800x533.jpg\" alt=\"Santigold performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santigold performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays, June 18–Aug. 20, 2023\u003cbr>\nStern Grove Meadow, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Stern Grove is a San Francisco institution, and this year the free series of park concerts kicks off with a performance by jazz fusion band Snarky Puppy. Other lineup highlights include the gritty synthpop of Santigold, the San Francisco Symphony, punk poet laureate Patti Smith and the Flaming Lips, who close out the festival at its annual Big Picnic.\u003c/p>\n\u003cfigure id=\"attachment_13929275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg\" alt=\"Peaches, wearing faux-hawk, dark eye shadow and a pink, swirly costume, does a full split while holding the microphone out to the audience. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peaches performs at Electric Ballroom on December 6, 2015 in London, England. \u003ccite>(Jim Dyson/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/QUEERLY-BELOVEDPRIDE/548317?afflky=1015Folsom\">Peaches\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Micahtron and Your Muther\u003cbr>\nJune 25, 2023\u003cbr>\n1015 Folsom, San Francisco\u003cbr>\n$40+\u003c/i>\u003c/p>\n\u003cp>Way before it was mainstream, Peaches made anthems for the pursuit of feminine sexual pleasure — with album art that featured natural-body nudity, fake beards, balaclavas and other provocative fun that doesn’t cater to the male gaze. Now it seems like the world has caught up to the cult-favorite indie star, who’s been paving the way since 2000. \u003ca href=\"https://youtu.be/DgYSM91vJko\">\u003cem>What else is in the teaches of Peaches?\u003c/em>\u003c/a> If there’s one Pride event you can’t miss, it’s Peaches in a live show produced by feminist adult performer Courtney Trouble. Rapper Micahtron and genre-bending DJ Your Muther will open, with performances by Club Mercy BDSM Burlesque and more.\u003c/p>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill on stage at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 1–2, 2023\u003cbr>\nMosswood Park, Oakland\u003cbr>\n$89+\u003c/i>\u003c/p>\n\u003cp>Mosswood Meltdown is a wholesome gathering for punks of all ages, and this year’s fest — hosted, as always, by counterculture godfather John Waters — brings some rare treats. Following last year’s \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">near-spiritual Bikini Kill set\u003c/a>, Kathleen Hanna returns in a rare appearance with her electroclash outfit \u003ca href=\"https://youtu.be/aqhntKPh2EY\">Le Tigre\u003c/a>. Veteran female rap group JJ Fad, \u003ca href=\"https://www.kqed.org/food/series/cooking-with-brontez\">Brontez Purnell\u003c/a>’s lovably chaotic band Gravy Train!!!! and punky funk veterans ESG are among the standout acts.\u003c/p>\n\u003cfigure id=\"attachment_13848943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg\" alt='Still from \"Смерти Больше Нет /Death No More.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Смерти Больше Нет /Death No More.” \u003ccite>((IC3PEAK/YouTube))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/ic3peak-the-independent-tickets/13163608?pl=independentsf&REFID=clientsitewp\">Ic3peak\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 12, 2023\u003cbr>\nThe Independent, San Francisco\u003cbr>\n$25+\u003c/i>\u003c/p>\n\u003cp>Ic3peak embodies true punk — not just because of their screamo vocals or dark makeup, but because the Russian duo has made it their mission to stand against oppression in an era when political dissent is criminalized in their home country. The two have previously \u003ca href=\"https://www.kqed.org/arts/13848939/young-russian-musicians-struggle-under-government-scrutiny\">risked arrest\u003c/a> over anti-police lyrics. More recently, they’ve boldly taken a public anti-war stance, which carries a jail sentence in Russia. Fortunately their international profile is expanding, especially with their 2022 album \u003ca href=\"https://youtu.be/QZ8FOyJrgUg\">\u003ci>Kiss of Death\u003c/i>\u003c/a>, which features Russian and English lyrics in an exquisite nu metal, hyperpop and rap mashup.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs during 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 04, 2023 in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/larry-june-230726\">Larry June\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With The Alchemist, Monroe Flow and Dvme\u003cbr>\nJuly 26, 2023\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>Larry June has had an impressive come-up this year. After a decade of grinding it out in the local scene — from early SoundCloud mixtapes to opening a \u003ca href=\"https://www.kqed.org/forum/2010101892498/all-you-can-eat-the-bay-areas-hip-hop-food-hustles\">boba shop\u003c/a> — the entrepreneurial rapper exploded nationally with his Alchemist-produced album \u003ca href=\"https://youtu.be/Kt_Q9DxNP9Q\">\u003ci>The Great Escape\u003c/i>\u003c/a>, a collection of luxuriously laidback rhymes for coastal drives to cliffside mansions. Aspirational yet playful, June’s raps bridge hip-hop generations, and he has a proud legion of fans at home in the Bay watching his rise. The two hometown dates of his national tour sold out, but fortunately The Fox Theater has added a third night with tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13929299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg\" alt=\"Mary J. Blige sings into the mic while wearing a head-to-toe gold sequins outfit. \" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige performs at The Joint inside the Hard Rock Hotel & Casino on August 16, 2019 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/tickets/\">Blue Note Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 28–30, 2023\u003cbr>\nSilverado Resort, Napa\u003cbr>\nSingle-day general admission: $225+, three-day pass: $575+\u003c/i>\u003c/p>\n\u003cp>The 2010s saw the explosion of mega-fests like Coachella, whose lineups are enormous enough to appeal to hundreds of thousands of fans. But there’s something to be said for a more intimate experience catering to the diehards of a specific scene. Blue Note Jazz Festival is that event for the \u003ca href=\"https://www.kqed.org/arts/13916940/review-blue-note-jazz-festival-napa-valley\">grown-and-sexy hip-hop, jazz and soul crowd\u003c/a>. It’s definitely on the pricey side, and in a remote wine country location, but seeing Mary J. Blige, Nas and Chance the Rapper in a small-ish crowd as the sun sets behind oak trees sounds like a peak experience to me. This festival celebrates top-tier Black musical excellence: the 2023 lineup also includes funk legend \u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a>, drum virtuoso Yussef Dayes and powerhouse vocalists like Ari Lennox.\u003c/p>\n\u003cfigure id=\"attachment_13829540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg\" alt=\"Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar live in London in 2018. \u003ccite>(Daniel Leal-Olivas/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands Music & Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 11–13, 2023\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nSingle-day general admission: $199+, three-day pass: $449+ \u003c/i>[aside postid='arts_13929461']\u003c/p>\n\u003cp>Two words: Kendrick Lamar. Outside Lands, one of San Francisco’s most popular music festivals, secured one of this generation’s brightest hip-hop talents this year. The rest of its lineup features some pretty special selections, including sad-girl icon Lana Del Rey, queer country crooner Orville Peck, our nation’s hot girl-in-chief Megan Thee Stallion and Afrofuturist pop star Janelle Monáe — who just announced that they’ll usher in a\u003ca href=\"https://youtu.be/Y7S6wLP_vsY\"> luxuriously sex-positive summer\u003c/a> with their June album, \u003ci>The Age of Pleasure\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13929302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg\" alt=\"The four MCs of Souls of Mischief - Opio, Tajai, Phesto and A-Plus - pose together at nightlife venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Souls Of Mischief attends S.O.B.’s on July 3, 2013 in New York City. \u003ccite>(Johnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Souls of Mischief\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 14, 2023\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\n$27+ \u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Souls of Mischief have been chilling from \u003ca href=\"https://youtu.be/fXJc2NYwHjw\">\u003ci>93 ’til Infinity\u003c/i>\u003c/a>, and their Oakland alternative hip-hop opus turned 30 years old this year. The group is spending the year celebrating with a 93-stop world tour, which culminates in an intimate concert at the Great American Music Hall. Souls of Mischief and their larger collective, Hieroglyphics, set the bar for MCs of their generation with quick-witted, acrobatic rhymes. And they’ve given back to hip-hop culture through their annual festival \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">Hiero Day\u003c/a>, which takes place a couple weeks after the GAMH show on Sept. 4 (lineup to be announced).\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1492,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":24},"modified":1705005469,"excerpt":"Larry June headlines the Fox, Le Tigre returns at Mosswood Meltdown and LaRussell invites fans to his backyard.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"Larry June headlines the Fox, Le Tigre returns at Mosswood Meltdown and LaRussell invites fans to his backyard.","title":"10 Bay Area Summer Concerts Not to Miss in 2023 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"10 Bay Area Summer Concerts Not to Miss in 2023","datePublished":"2023-05-23T09:00:03-07:00","dateModified":"2024-01-11T12:37:49-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"10-bay-area-summer-concerts-not-to-miss-in-2023","status":"publish","sourceUrl":"kqed.org/summerguide2023","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"source":"Hot Summer Guide 2023","articleAge":"0","path":"/arts/13929248/10-bay-area-summer-concerts-not-to-miss-in-2023","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Be sure to check out our full \u003ca href=\"https://www.kqed.org/summerguide2023\">2023 Summer Arts Guide to live music, movies, art, theater, festivals and more\u003c/a> in the Bay Area. \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Feeling the sun’s warmth, sipping something cold and dancing with friends is life-giving. And we need more of that medicine after three years of pandemic living. Fortunately for Bay Area music fans, there’s plenty of opportunity to do all of the above with a summer calendar packed with festivals and concerts. The events we’ve rounded up range from $free.99 to splurge-worthy experiences to help you get out there and make the most of our warm(ish)-weather months.\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>\u003ca href=\"https://www.whatstba.com/creator/larussell\">LaRussell Live From the Pergola\u003c/a>\u003c/h2>\n\u003cp>\u003ci>June 4–Aug. 6, 2023\u003cbr>\nVallejo\u003cbr>\nPay what you want\u003c/i>\u003c/p>\n\u003cp>Don’t let the boyish grin and Crocs fool you — \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\">LaRussell\u003c/a>’s \u003ca href=\"https://youtu.be/8FP5sc687-I\">razor-sharp lyrics\u003c/a> and savvy business maneuvers command respect. Truly a man of the people, he’s built a successful brand by selling pay-what-you-want concert tickets, and transparently narrating his artistic journey on social media in real time. His grassroots momentum has caught the eye of crucial industry figures: most recently, he appeared on a \u003ca href=\"https://www.youtube.com/watch?v=ITgGDY_B6mI\">DJ Drama mixtape\u003c/a> alongside Lil Wayne, Lil Baby and Tyler, the Creator. It probably won’t be too much longer that his backyard can contain his growing fanbase, so consider his summer Live from the Pergola shows a special opportunity to see the rising Vallejo artist perform at his parents’ house, surrounded by his real-life friends and family.\u003c/p>\n\u003cfigure id=\"attachment_13925602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/The-crowd-at-Kilowatt-Bar-in-San-Francisco-on-night-six-of-the-Noise-Pop-Music-and-Art-Festival-on-Saturday-Feb.-27-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Kilowatt Bar in San Francisco on night six of the Noise Pop Music and Art Festival on Saturday, Feb. 25, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.summerofmusicsf.com/\">Summer of Music SF\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturdays, June 17–Sept. 2023\u003cbr>\nVarious locations, San Francisco\u003cbr>\nFree\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local musicians need a leg up to rebound from the \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">many difficulties they’ve faced during the pandemic\u003c/a>. And so do small businesses in neighborhoods with dwindling foot traffic and empty storefronts. As part of the solution, local promoter \u003ca href=\"https://www.kqed.org/arts/13925590/noise-pop-festival-2023-review\">Noise Pop\u003c/a> and the nonprofit \u003ca href=\"https://www.civicspacefoundation.org/\">Civic Joy Fund\u003c/a> are hoping to create a positive feedback loop of fun to bolster San Francisco’s culture and economy. Their new Summer of Music SF concert series kicks off in June, with free shows to be announced in neighborhoods such as the Mission, the Castro, Chinatown, Bayview and more.\u003c/p>\n\u003cfigure id=\"attachment_13842757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_3471-800x533.jpg\" alt=\"Santigold performs at Treasure Island Music Festival on Oct. 13, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_3471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santigold performs at Treasure Island Music Festival on Oct. 13, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sundays, June 18–Aug. 20, 2023\u003cbr>\nStern Grove Meadow, San Francisco\u003cbr>\nFree with RSVP\u003c/i>\u003c/p>\n\u003cp>Stern Grove is a San Francisco institution, and this year the free series of park concerts kicks off with a performance by jazz fusion band Snarky Puppy. Other lineup highlights include the gritty synthpop of Santigold, the San Francisco Symphony, punk poet laureate Patti Smith and the Flaming Lips, who close out the festival at its annual Big Picnic.\u003c/p>\n\u003cfigure id=\"attachment_13929275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg\" alt=\"Peaches, wearing faux-hawk, dark eye shadow and a pink, swirly costume, does a full split while holding the microphone out to the audience. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-500243726.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peaches performs at Electric Ballroom on December 6, 2015 in London, England. \u003ccite>(Jim Dyson/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/QUEERLY-BELOVEDPRIDE/548317?afflky=1015Folsom\">Peaches\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With Micahtron and Your Muther\u003cbr>\nJune 25, 2023\u003cbr>\n1015 Folsom, San Francisco\u003cbr>\n$40+\u003c/i>\u003c/p>\n\u003cp>Way before it was mainstream, Peaches made anthems for the pursuit of feminine sexual pleasure — with album art that featured natural-body nudity, fake beards, balaclavas and other provocative fun that doesn’t cater to the male gaze. Now it seems like the world has caught up to the cult-favorite indie star, who’s been paving the way since 2000. \u003ca href=\"https://youtu.be/DgYSM91vJko\">\u003cem>What else is in the teaches of Peaches?\u003c/em>\u003c/a> If there’s one Pride event you can’t miss, it’s Peaches in a live show produced by feminist adult performer Courtney Trouble. Rapper Micahtron and genre-bending DJ Your Muther will open, with performances by Club Mercy BDSM Burlesque and more.\u003c/p>\n\u003cfigure id=\"attachment_13915730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill on stage at Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 1–2, 2023\u003cbr>\nMosswood Park, Oakland\u003cbr>\n$89+\u003c/i>\u003c/p>\n\u003cp>Mosswood Meltdown is a wholesome gathering for punks of all ages, and this year’s fest — hosted, as always, by counterculture godfather John Waters — brings some rare treats. Following last year’s \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">near-spiritual Bikini Kill set\u003c/a>, Kathleen Hanna returns in a rare appearance with her electroclash outfit \u003ca href=\"https://youtu.be/aqhntKPh2EY\">Le Tigre\u003c/a>. Veteran female rap group JJ Fad, \u003ca href=\"https://www.kqed.org/food/series/cooking-with-brontez\">Brontez Purnell\u003c/a>’s lovably chaotic band Gravy Train!!!! and punky funk veterans ESG are among the standout acts.\u003c/p>\n\u003cfigure id=\"attachment_13848943\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg\" alt='Still from \"Смерти Больше Нет /Death No More.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/IC3PEAK-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Смерти Больше Нет /Death No More.” \u003ccite>((IC3PEAK/YouTube))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.ticketweb.com/event/ic3peak-the-independent-tickets/13163608?pl=independentsf&REFID=clientsitewp\">Ic3peak\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 12, 2023\u003cbr>\nThe Independent, San Francisco\u003cbr>\n$25+\u003c/i>\u003c/p>\n\u003cp>Ic3peak embodies true punk — not just because of their screamo vocals or dark makeup, but because the Russian duo has made it their mission to stand against oppression in an era when political dissent is criminalized in their home country. The two have previously \u003ca href=\"https://www.kqed.org/arts/13848939/young-russian-musicians-struggle-under-government-scrutiny\">risked arrest\u003c/a> over anti-police lyrics. More recently, they’ve boldly taken a public anti-war stance, which carries a jail sentence in Russia. Fortunately their international profile is expanding, especially with their 2022 album \u003ca href=\"https://youtu.be/QZ8FOyJrgUg\">\u003ci>Kiss of Death\u003c/i>\u003c/a>, which features Russian and English lyrics in an exquisite nu metal, hyperpop and rap mashup.\u003c/p>\n\u003cfigure id=\"attachment_13929276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg\" alt=\"Larry June raps into the microphone on a big festival stage. He's wearing a bucket hat, designer sunglasses and a bandana and is smiling. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1471382956.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Larry June performs during 2023 Rolling Loud Los Angeles at Hollywood Park Grounds on March 04, 2023 in Inglewood, California. \u003ccite>(Photo by Timothy Norris/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://thefoxoakland.com/events/larry-june-230726\">Larry June\u003c/a>\u003c/h2>\n\u003cp>\u003ci>With The Alchemist, Monroe Flow and Dvme\u003cbr>\nJuly 26, 2023\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n$49.50+\u003c/i>\u003c/p>\n\u003cp>Larry June has had an impressive come-up this year. After a decade of grinding it out in the local scene — from early SoundCloud mixtapes to opening a \u003ca href=\"https://www.kqed.org/forum/2010101892498/all-you-can-eat-the-bay-areas-hip-hop-food-hustles\">boba shop\u003c/a> — the entrepreneurial rapper exploded nationally with his Alchemist-produced album \u003ca href=\"https://youtu.be/Kt_Q9DxNP9Q\">\u003ci>The Great Escape\u003c/i>\u003c/a>, a collection of luxuriously laidback rhymes for coastal drives to cliffside mansions. Aspirational yet playful, June’s raps bridge hip-hop generations, and he has a proud legion of fans at home in the Bay watching his rise. The two hometown dates of his national tour sold out, but fortunately The Fox Theater has added a third night with tickets available.\u003c/p>\n\u003cfigure id=\"attachment_13929299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg\" alt=\"Mary J. Blige sings into the mic while wearing a head-to-toe gold sequins outfit. \" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1168538954.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary J. Blige performs at The Joint inside the Hard Rock Hotel & Casino on August 16, 2019 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.bluenotejazz.com/jazz-festival-napa/tickets/\">Blue Note Jazz Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>July 28–30, 2023\u003cbr>\nSilverado Resort, Napa\u003cbr>\nSingle-day general admission: $225+, three-day pass: $575+\u003c/i>\u003c/p>\n\u003cp>The 2010s saw the explosion of mega-fests like Coachella, whose lineups are enormous enough to appeal to hundreds of thousands of fans. But there’s something to be said for a more intimate experience catering to the diehards of a specific scene. Blue Note Jazz Festival is that event for the \u003ca href=\"https://www.kqed.org/arts/13916940/review-blue-note-jazz-festival-napa-valley\">grown-and-sexy hip-hop, jazz and soul crowd\u003c/a>. It’s definitely on the pricey side, and in a remote wine country location, but seeing Mary J. Blige, Nas and Chance the Rapper in a small-ish crowd as the sun sets behind oak trees sounds like a peak experience to me. This festival celebrates top-tier Black musical excellence: the 2023 lineup also includes funk legend \u003ca href=\"https://www.kqed.org/arts/13839952/its-that-naughty-feeling-george-clinton-on-funks-enduring-appeal\">George Clinton\u003c/a>, drum virtuoso Yussef Dayes and powerhouse vocalists like Ari Lennox.\u003c/p>\n\u003cfigure id=\"attachment_13829540\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829540\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg\" alt=\"Kendrick Lamar, whose album DAMN. won this year's Pulitzer Prize for music, performs in London earlier this year.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/gettyimages-922462102_custom-62c989e150c595ced4e24feb8de7a9f219abcd09.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar live in London in 2018. \u003ccite>(Daniel Leal-Olivas/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://sfoutsidelands.com/\">Outside Lands Music & Arts Festival\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 11–13, 2023\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\nSingle-day general admission: $199+, three-day pass: $449+ \u003c/i>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13929461","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two words: Kendrick Lamar. Outside Lands, one of San Francisco’s most popular music festivals, secured one of this generation’s brightest hip-hop talents this year. The rest of its lineup features some pretty special selections, including sad-girl icon Lana Del Rey, queer country crooner Orville Peck, our nation’s hot girl-in-chief Megan Thee Stallion and Afrofuturist pop star Janelle Monáe — who just announced that they’ll usher in a\u003ca href=\"https://youtu.be/Y7S6wLP_vsY\"> luxuriously sex-positive summer\u003c/a> with their June album, \u003ci>The Age of Pleasure\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13929302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg\" alt=\"The four MCs of Souls of Mischief - Opio, Tajai, Phesto and A-Plus - pose together at nightlife venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-172749170.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Souls Of Mischief attends S.O.B.’s on July 3, 2013 in New York City. \u003ccite>(Johnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://wl.seetickets.us/event/Souls-ofMischief/531255?afflky=GreatAmericanMusicHall\">Souls of Mischief\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Aug. 14, 2023\u003cbr>\nGreat American Music Hall, San Francisco\u003cbr>\n$27+ \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Souls of Mischief have been chilling from \u003ca href=\"https://youtu.be/fXJc2NYwHjw\">\u003ci>93 ’til Infinity\u003c/i>\u003c/a>, and their Oakland alternative hip-hop opus turned 30 years old this year. The group is spending the year celebrating with a 93-stop world tour, which culminates in an intimate concert at the Great American Music Hall. Souls of Mischief and their larger collective, Hieroglyphics, set the bar for MCs of their generation with quick-witted, acrobatic rhymes. And they’ve given back to hip-hop culture through their annual festival \u003ca href=\"https://www.kqed.org/arts/tag/hiero-day\">Hiero Day\u003c/a>, which takes place a couple weeks after the GAMH show on Sept. 4 (lineup to be announced).\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929248/10-bay-area-summer-concerts-not-to-miss-in-2023","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_10278","arts_1006","arts_831","arts_1774","arts_9337","arts_13246","arts_1694","arts_6387","arts_1739","arts_1788","arts_20565","arts_585"],"featImg":"arts_13929276","label":"source_arts_13929248"},"arts_13920746":{"type":"posts","id":"arts_13920746","meta":{"index":"posts_1716263798","site":"arts","id":"13920746","score":null,"sort":[1666810539000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1666810539,"format":"standard","title":"All Rappers From Out Here Sound The Same? What Are You Smokin’?","headTitle":"All Rappers From Out Here Sound The Same? What Are You Smokin’? | KQED","content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Be sure to see ‘\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>,’ KQED’s series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>A heated text message exchange about hip-hop artists from our region had my phone’s battery at less than 10%. You know it was bad because I was sitting on the couch with the phone charger right next to me. No time to plug in that stupid cord. I had points to make.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">The friend on the other end of the line was saying something I’ve heard for years: “I don’t listen to rappers from out here, they all sound alike.”\u003c/p>\n\u003cp>I’ve heard this way too often. Let’s set the record straight.\u003c/p>\n\u003cp>Yes, people do sound alike. As humans, our vocal cords only range so far. And despite our region’s unique lingo, our slang is still a derivative of the Queen’s English — the \u003ca href=\"https://statisticsanddata.org/data/the-most-spoken-languages-2022/\">most popular language in the world\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Add to that, for something to be “hip-hop” it has to fall within the broad but limited confines of a certain sound. And a major part of hip-hop is repping your region. So it would make sense for an artist to make music that’s easily identifiable as something from the West Coast, specifically Northern California.\u003c/p>\n\u003cp>So when we’re talking about one region, in one specific genre of audible artistic expression, you’re not going to get some expansive, thousand-miles-long variety of vibes. \u003cem>Sawry bruddah\u003c/em>.\u003c/p>\n\u003cp>But come on man, this region is (and has been) home to some of the most diverse artists you’ll find. And right now, at this very moment, music makers from this rich soil are putting their foot down deep in this proverbial thing called “the rap game.”\u003c/p>\n\u003cp>And you mean to tell me you don’t listen to any of them?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rexx Life Raj - Save Yourself (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/_HkZCOsXBTY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You’re not tapped into the spiritually healing bars of Berkeley’s \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>? Vallejo’s \u003ca href=\"https://linktr.ee/Gcompenny\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> isn’t inspiring you to become a Zen-like Croc-wearing entrepreneur who spits ether? You’re not pushing the speed limit in a mid-sized hybrid sedan while slappin’ the high energy music of East Oakland’s \u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Su’Lan\u003c/a>? \u003cem>What are you smoking?\u003c/em>\u003c/p>\n\u003cp>In the time it takes you to order and eat four tacos from your favorite truck, you could listen to tracks from Stockton’s \u003ca href=\"https://www.instagram.com/haiti_babii/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Haiti Babii\u003c/a>, Sacramento’s \u003ca href=\"https://www.instagram.com/konyginobili/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ShooterGang Kony\u003c/a> and Oakland duo \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">1100 Himself\u003c/a> & \u003ca href=\"https://www.instagram.com/producedbymitchell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell\u003c/a>, and get very different, lyrically sound approaches to modern gangsterism.\u003c/p>\n\u003cp>Looking for the revolution? Just last week Oakland’s \u003ca href=\"https://linktr.ee/PBO\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a> dropped \u003cem>Tales of The Town\u003c/em>, a companion project to \u003ca href=\"https://linktr.ee/hellablackpod\" target=\"_blank\" rel=\"noopener noreferrer\">their latest podcast series\u003c/a>. The album features a litany of big-name artists from the region: There’s the cool-kid flow of \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a>. The rugged bars of \u003ca href=\"https://www.instagram.com/whoisallblack/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK \u003c/a>and \u003ca href=\"https://www.instagram.com/jstalinlivewire/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J. Stalin\u003c/a>. The wisdom of \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>. The smooth flow of \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví aka Fijiana\u003c/a>. The wordplay of \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. The laid-back gangsta of \u003ca href=\"https://www.instagram.com/22ndjim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">22nd Jim\u003c/a>. And \u003ca href=\"https://www.instagram.com/shyan_g/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> absolutely obliterates a track with her storytelling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSO-zDfYcm4&feature=emb_title\u003c/p>\n\u003cp>That album features the song “Risen” by the immensely talented \u003ca href=\"https://elujay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a> and the newly appointed First Lady of Death Row, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock.\u003c/a> On another project that dropped last week, Snoop Dogg’s Gangsta Grillz album \u003cem>I Still Got It\u003c/em>, Jane is featured on multiple tracks flaunting dope rhymes and high-quality vocals. I said she’s killin’ it in R&B and hip-hop, and she’s on Death Row. \u003cem>Don’t check me, check your ears.\u003c/em>\u003c/p>\n\u003cp>Stop being lazy and writing off an entire group of artists just because of where they’re from.\u003c/p>\n\u003cp>Yes, there are artists who undeniably sound like “Cali rappers” — which, to be clear, \u003cem>isn’t a bad thing\u003c/em>. Maybe it’s the clear pronunciation of Richmond’s \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IAMSU!\u003c/a>, the carefree gangsta flow of Vallejo’s \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nef The Pharaoh\u003c/a>, or the cold mackin’ lines coming from Antioch’s \u003ca href=\"https://www.instagram.com/mike_sherm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Sherm\u003c/a>. But differences remain even among those with regional proximity.\u003c/p>\n\u003cp>Take, for instance, rising star \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a>, who clearly sounds like he’s from here. And at the same time, he just sounds \u003ci>different\u003c/i>.\u003c/p>\n\u003cp>“I mean, I got a young JR sound,” Young JR tells me over the phone earlier this year. The East Oakland artist’s delivery has a sharp pitch and bit of a mumble, with a blatant tongue that’ll say some wild stuff over heavy beats that blap in your trunk. He looks the part too, from his fly attire and short locs to his turf dancing-inspired gigs. “I let it be known: for sure I’m a Town nigga, you feel me?” he says, about his aesthetics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7WZDFGeqA9I\u003c/p>\n\u003cp>Young JR says he’s gotten comparisons to other Bay Area rappers, as well as southern artists, which makes sense. The amount of Black folks in the Bay with direct ties to the Bible Belt is astounding. Even a generation or three removed from the Great Migration, accents linger. (Have you ever heard someone with a heavy Richmond accent say “car”?)\u003c/p>\n\u003cp>At the same time, because Northern California is home to so many people from places all around the globe, we inherently have an eclectic array of artists.\u003c/p>\n\u003cp>In June of this year Young JR dropped his project \u003cem>Born Again\u003c/em>, which features San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, Antioch’s \u003ca href=\"https://symba.komi.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a>, Oakland’s \u003ca href=\"https://www.instagram.com/uc_kayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">UC Kayla\u003c/a> and Sacramento’s \u003ca href=\"https://www.instagram.com/omb_peezy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">OMB Peezy\u003c/a>, to name a few. “It was intentional to get different sounds,” Young JR tells me, noting the diversity in the region and then pointing out what’s going on in the Central Valley. “We’ve got a few Sacramento artists that sound \u003cem>different\u003c/em>,” he says, bringing to my mind artists like \u003ca href=\"https://www.instagram.com/cellyru/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Celly Ru\u003c/a>, \u003ca href=\"https://www.instagram.com/mozzy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy,\u003c/a> \u003ca href=\"https://www.instagram.com/db.boutabag/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DB Boutabag\u003c/a> and \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nate Curry.\u003c/a> “They got their own sound; they kept their own sound and perfected their own sound,” says Young JR.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Gritty Lex - Juice (Official Visual)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uM2ietSPtX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/grittylex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gritty Lex\u003c/a> has heard the Cali-rappers-sound-the-same claim, although she says it’s more about the men. “I don’t think there are a whole bunch of female rappers who get put into that category,” she tells me during a phone call a few months ago.\u003c/p>\n\u003cp>She floats in between genres, but identifies as an alternative hip-hop artist. Someone once described her sound as “if Jhené Aiko and XXXTentacion had a baby,” she says with a laugh.\u003c/p>\n\u003cp>Lex, who performed at Rolling Loud last year and just this month dropped a new project with Myles titled \u003cem>High Tolerance\u003c/em>, says the confining definition of the “West Coast sound” is something rappers deal with across the board. “A lot of rappers are already boxed in, no matter what they do. It’s not how I see it, but people’s attention spans are really short nowadays. Once a listener gets \u003cem>that\u003c/em>, they classify you as \u003cem>that\u003c/em>; it’s hard to break that barrier down.”\u003c/p>\n\u003cp>It’s a point that I’ve contemplated for some time, and a bit of a chicken or egg question. Was “that barrier” put there because the people said early on that West Coast hip-hop is the standard, and anything from out here has to fit into that mold? Or did the industry say this is how the West Coast sounds, so only artists who fit that mold rise to the top?\u003c/p>\n\u003cp>I called someone who knows about vocals, the industry and the coast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"P-Lo - Luh U ft. Bosko (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bM50ahgsRMc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CRXN6porW_G/?hl=en\">Bosko Kante\u003c/a>, an Oakland-based, Grammy-winning musician and creator of the handheld autotune instrument called the \u003ca href=\"https://www.electrospit.com/products/bosko-electrospit-talkbox-feature\" target=\"_blank\" rel=\"noopener noreferrer\">ElectroSpit Talkbox\u003c/a>, is originally from Portland, Oregon. Before moving to the Bay, he spent years in Los Angeles working with Bay Area artists like E-40, the Luniz and Dru Down. He also spent some time in Atlanta, where he worked Big Boi of Outkast. In 2020, Bosko contributed to Dua Lipa’s “Levitate,” arguably the biggest song of the year.\u003c/p>\n\u003cp>Back when he first moved to Los Angeles, Bosko says the popular artists of the time were Snoop and Warren G. “So I put out records, myself as a rapper, that sounded like those, because in my mind that’s what you had to do and that’s how you should sound to be successful,” Bosko tells me during a phone call. “To be within the West Coast rap genre, you have to be within a certain circle, but you want to be more toward the edge of that circle to stand out,” says Bosko, noting the odd balance of fitting in and simultaneously standing out.\u003c/p>\n\u003cp>As the founder of the \u003ca href=\"https://hiiiwav.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Music Incubator\u003c/a> nonprofit, housed at the former site of Zoo Labs, Bosko helps artists develop their sound. So, clearly, I had to ask him if we all sound alike.\u003c/p>\n\u003cp>“I do not agree that all Northern Californian artists sound the same,” says Bosko. “What I will say is that I think the Bay Area culture is one where we want to be different. So, in some ways, maybe we sound the same in that we sound different than the rest of the country.”\u003c/p>\n\u003cp>He adds that most artists from this region are proud of being from here, and that’s shown through their unique slang and style. “I’ll give it up to the Bay for being the most unique region in the country, in my opinion,” he says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larry June & Cardo - Gas Station Run (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Hyod7v38Ho0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Whatever your flavor, you’ll find it between the Sierra Mountains and the Pacific Ocean.\u003c/p>\n\u003cp>You could be on some healthy player stuff and listen to San Francisco’s \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a>. Or you could be on some ten-toes down “real P” stuff and listen to Oakland’s \u003ca href=\"https://www.instagram.com/capolow304/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Capolow\u003c/a>. Both of these artists use the ad-lib “Aye,” but do it in a different way. And you mean to tell me neither of them float your boat?\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/stunnagirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunna Girl\u003c/a> just dropped the braggadocio track “\u003ca href=\"https://www.youtube.com/watch?v=R8r-s0OyDHc\" target=\"_blank\" rel=\"noopener noreferrer\">Shut Me Up\u003c/a>.” Oakland’s \u003ca href=\"https://www.instagram.com/fredobagz4500/\" target=\"_blank\" rel=\"noopener noreferrer\">Fredo Bagz\u003c/a> has the aggressive flow on this week’s release “\u003ca href=\"https://www.youtube.com/watch?v=RT-NUfQns6U\" target=\"_blank\" rel=\"noopener noreferrer\">123\u003c/a>“. There’s the the spacey creative concepts found in \u003ca href=\"https://www.instagram.com/senorgigio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio’s\u003c/a> music. The boom-bap music of Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ovrkast\u003c/a>. San Francisco’s \u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a> has been running it up all year — her confident but relaxed bars on “\u003ca href=\"https://www.youtube.com/watch?v=ySjDu0rZSKM\" target=\"_blank\" rel=\"noopener noreferrer\">11:11\u003c/a>” illustrate her approach to the game. Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/\" target=\"_blank\" rel=\"noopener noreferrer\">Paris Nights\u003c/a> is spittin’ with aggression on a track she dropped earlier this month, “\u003ca href=\"https://www.youtube.com/watch?v=7CSIc2Cvwh4\" target=\"_blank\" rel=\"noopener noreferrer\">Coldest\u003c/a>.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stunna Girl - Shut me up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/R8r-s0OyDHc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, the Bay Area actor and active member of the \u003ca href=\"https://www.instagram.com/putangclanofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pu Tang Clan\u003c/a>, just released the first episode of her web series \u003cem>All Hail The Qing\u003c/em>. But if you need some raunchy bars, I’d suggest checking last year’s song “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener noreferrer\">Big D\u003c/a>.” Frisco factor \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs-One\u003c/a> is a graffiti writer, hip-hop historian and lyricist who has a beer named after one of his recent projects, \u003cem>Fog Mode\u003c/em>. San Lorenzo’s \u003ca href=\"https://www.instagram.com/rubyibarra/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a>, \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> outside of her rap career, raps in English and Tagalog in the song “Us,” and it \u003ca href=\"https://www.youtube.com/watch?v=fgDki5-FQgY\" target=\"_blank\" rel=\"noopener noreferrer\">was featured on NBA 2K23\u003c/a>.\u003c/p>\n\u003cp>There’s the Spanglish wordplay about street life coming from Oakland’s \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas\u003c/a>. That gritty straightforward flow San Francisco’s \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Blimes Brixton\u003c/a>. The cutthroat bars of Stockton’s \u003ca href=\"https://www.youtube.com/watch?v=xMO5gBczc7Q\" target=\"_blank\" rel=\"noopener noreferrer\">EBK Bckdoe\u003c/a>. The flashy and uptempo music of \u003ca href=\"https://www.instagram.com/drebaexo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Drebae\u003c/a>. The openly honest and catchy tunes coming from \u003ca href=\"https://www.instagram.com/marikasage/\" target=\"_blank\" rel=\"noopener noreferrer\">Marika Sage\u003c/a>. And there’s the multi-layered sounds of R&B, ranchera and rap coming from \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a daughter of the Mission District.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"La Doña - Le Lo Lai (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/f13atQz5QtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Look, \u003ca href=\"https://www.instagram.com/professagabel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a> has a chill flow. \u003ca href=\"https://www.instagram.com/fraktheperson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frak The Person\u003c/a> is a punchline and battle rapper. And \u003ca href=\"https://www.instagram.com/richiecunning/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> just dropped an album, \u003cem>Big Deal\u003c/em>, that merges rap with that smoky, jazz-club Sinatra sound. All three are white dudes from San Francisco, and even \u003cem>they\u003c/em> sound different from one another.\u003c/p>\n\u003cp>There’s the hardened tales of returning from being incarcerated and getting back into the streets coming from artists like Oakland’s \u003ca href=\"https://www.instagram.com/killa_fonte/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Killa Fonte\u003c/a> and Richmond’s \u003ca href=\"https://www.instagram.com/_blastacannon_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bla$ta\u003c/a>. And there’s the glossy pop-style sound of Frisco’s \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24KGoldn\u003c/a>, who just might be the next Bieber — but with more bars.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"24kGoldn - Mood (Official Video) ft. iann dior\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/GrAchTdepsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Literally everything you could ask for.\u003c/p>\n\u003cp>To overlook the diversity of sounds coming from the people who call this place home is to completely dismiss what makes this place unique.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And you’re telling me everyone from this region sounds the same? You, my friend, sound like everyone making that same old played-out-ass claim.\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2231,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":49},"modified":1705006226,"excerpt":"The Bay Area is stacked with stylistic variety right now — you just gotta listen for it.","headData":{"twImgId":"","twTitle":"'Bay Area Rappers All Sound The Same'? What Are You Smokin’?","socialTitle":"Bay Area Rappers Don't All Sound The Same %%page%% %%sep%% KQED","ogTitle":"'Bay Area Rappers All Sound The Same'? What Are You Smokin’?","ogImgId":"","twDescription":"","description":"The Bay Area is stacked with stylistic variety right now — you just gotta listen for it.","title":"Bay Area Rappers Don't All Sound The Same | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"All Rappers From Out Here Sound The Same? What Are You Smokin’?","datePublished":"2022-10-26T11:55:39-07:00","dateModified":"2024-01-11T12:50:26-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"bay-area-rap-cmon-its-different","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"WpOldSlug":"all-rappers-from-out-here-sound-the-same-what-are-you-smokin","articleAge":"0","path":"/arts/13920746/bay-area-rap-cmon-its-different","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Be sure to see ‘\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>,’ KQED’s series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>A heated text message exchange about hip-hop artists from our region had my phone’s battery at less than 10%. You know it was bad because I was sitting on the couch with the phone charger right next to me. No time to plug in that stupid cord. I had points to make.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">The friend on the other end of the line was saying something I’ve heard for years: “I don’t listen to rappers from out here, they all sound alike.”\u003c/p>\n\u003cp>I’ve heard this way too often. Let’s set the record straight.\u003c/p>\n\u003cp>Yes, people do sound alike. As humans, our vocal cords only range so far. And despite our region’s unique lingo, our slang is still a derivative of the Queen’s English — the \u003ca href=\"https://statisticsanddata.org/data/the-most-spoken-languages-2022/\">most popular language in the world\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Add to that, for something to be “hip-hop” it has to fall within the broad but limited confines of a certain sound. And a major part of hip-hop is repping your region. So it would make sense for an artist to make music that’s easily identifiable as something from the West Coast, specifically Northern California.\u003c/p>\n\u003cp>So when we’re talking about one region, in one specific genre of audible artistic expression, you’re not going to get some expansive, thousand-miles-long variety of vibes. \u003cem>Sawry bruddah\u003c/em>.\u003c/p>\n\u003cp>But come on man, this region is (and has been) home to some of the most diverse artists you’ll find. And right now, at this very moment, music makers from this rich soil are putting their foot down deep in this proverbial thing called “the rap game.”\u003c/p>\n\u003cp>And you mean to tell me you don’t listen to any of them?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rexx Life Raj - Save Yourself (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/_HkZCOsXBTY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You’re not tapped into the spiritually healing bars of Berkeley’s \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>? Vallejo’s \u003ca href=\"https://linktr.ee/Gcompenny\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> isn’t inspiring you to become a Zen-like Croc-wearing entrepreneur who spits ether? You’re not pushing the speed limit in a mid-sized hybrid sedan while slappin’ the high energy music of East Oakland’s \u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Su’Lan\u003c/a>? \u003cem>What are you smoking?\u003c/em>\u003c/p>\n\u003cp>In the time it takes you to order and eat four tacos from your favorite truck, you could listen to tracks from Stockton’s \u003ca href=\"https://www.instagram.com/haiti_babii/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Haiti Babii\u003c/a>, Sacramento’s \u003ca href=\"https://www.instagram.com/konyginobili/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ShooterGang Kony\u003c/a> and Oakland duo \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">1100 Himself\u003c/a> & \u003ca href=\"https://www.instagram.com/producedbymitchell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell\u003c/a>, and get very different, lyrically sound approaches to modern gangsterism.\u003c/p>\n\u003cp>Looking for the revolution? Just last week Oakland’s \u003ca href=\"https://linktr.ee/PBO\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a> dropped \u003cem>Tales of The Town\u003c/em>, a companion project to \u003ca href=\"https://linktr.ee/hellablackpod\" target=\"_blank\" rel=\"noopener noreferrer\">their latest podcast series\u003c/a>. The album features a litany of big-name artists from the region: There’s the cool-kid flow of \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a>. The rugged bars of \u003ca href=\"https://www.instagram.com/whoisallblack/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK \u003c/a>and \u003ca href=\"https://www.instagram.com/jstalinlivewire/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J. Stalin\u003c/a>. The wisdom of \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>. The smooth flow of \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví aka Fijiana\u003c/a>. The wordplay of \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. The laid-back gangsta of \u003ca href=\"https://www.instagram.com/22ndjim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">22nd Jim\u003c/a>. And \u003ca href=\"https://www.instagram.com/shyan_g/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> absolutely obliterates a track with her storytelling.\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/zSO-zDfYcm4'\n title='//www.youtube.com/embed/zSO-zDfYcm4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That album features the song “Risen” by the immensely talented \u003ca href=\"https://elujay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a> and the newly appointed First Lady of Death Row, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock.\u003c/a> On another project that dropped last week, Snoop Dogg’s Gangsta Grillz album \u003cem>I Still Got It\u003c/em>, Jane is featured on multiple tracks flaunting dope rhymes and high-quality vocals. I said she’s killin’ it in R&B and hip-hop, and she’s on Death Row. \u003cem>Don’t check me, check your ears.\u003c/em>\u003c/p>\n\u003cp>Stop being lazy and writing off an entire group of artists just because of where they’re from.\u003c/p>\n\u003cp>Yes, there are artists who undeniably sound like “Cali rappers” — which, to be clear, \u003cem>isn’t a bad thing\u003c/em>. Maybe it’s the clear pronunciation of Richmond’s \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IAMSU!\u003c/a>, the carefree gangsta flow of Vallejo’s \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nef The Pharaoh\u003c/a>, or the cold mackin’ lines coming from Antioch’s \u003ca href=\"https://www.instagram.com/mike_sherm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Sherm\u003c/a>. But differences remain even among those with regional proximity.\u003c/p>\n\u003cp>Take, for instance, rising star \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a>, who clearly sounds like he’s from here. And at the same time, he just sounds \u003ci>different\u003c/i>.\u003c/p>\n\u003cp>“I mean, I got a young JR sound,” Young JR tells me over the phone earlier this year. The East Oakland artist’s delivery has a sharp pitch and bit of a mumble, with a blatant tongue that’ll say some wild stuff over heavy beats that blap in your trunk. He looks the part too, from his fly attire and short locs to his turf dancing-inspired gigs. “I let it be known: for sure I’m a Town nigga, you feel me?” he says, about his aesthetics.\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/7WZDFGeqA9I'\n title='//www.youtube.com/embed/7WZDFGeqA9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Young JR says he’s gotten comparisons to other Bay Area rappers, as well as southern artists, which makes sense. The amount of Black folks in the Bay with direct ties to the Bible Belt is astounding. Even a generation or three removed from the Great Migration, accents linger. (Have you ever heard someone with a heavy Richmond accent say “car”?)\u003c/p>\n\u003cp>At the same time, because Northern California is home to so many people from places all around the globe, we inherently have an eclectic array of artists.\u003c/p>\n\u003cp>In June of this year Young JR dropped his project \u003cem>Born Again\u003c/em>, which features San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, Antioch’s \u003ca href=\"https://symba.komi.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a>, Oakland’s \u003ca href=\"https://www.instagram.com/uc_kayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">UC Kayla\u003c/a> and Sacramento’s \u003ca href=\"https://www.instagram.com/omb_peezy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">OMB Peezy\u003c/a>, to name a few. “It was intentional to get different sounds,” Young JR tells me, noting the diversity in the region and then pointing out what’s going on in the Central Valley. “We’ve got a few Sacramento artists that sound \u003cem>different\u003c/em>,” he says, bringing to my mind artists like \u003ca href=\"https://www.instagram.com/cellyru/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Celly Ru\u003c/a>, \u003ca href=\"https://www.instagram.com/mozzy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy,\u003c/a> \u003ca href=\"https://www.instagram.com/db.boutabag/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DB Boutabag\u003c/a> and \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nate Curry.\u003c/a> “They got their own sound; they kept their own sound and perfected their own sound,” says Young JR.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Gritty Lex - Juice (Official Visual)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uM2ietSPtX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/grittylex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gritty Lex\u003c/a> has heard the Cali-rappers-sound-the-same claim, although she says it’s more about the men. “I don’t think there are a whole bunch of female rappers who get put into that category,” she tells me during a phone call a few months ago.\u003c/p>\n\u003cp>She floats in between genres, but identifies as an alternative hip-hop artist. Someone once described her sound as “if Jhené Aiko and XXXTentacion had a baby,” she says with a laugh.\u003c/p>\n\u003cp>Lex, who performed at Rolling Loud last year and just this month dropped a new project with Myles titled \u003cem>High Tolerance\u003c/em>, says the confining definition of the “West Coast sound” is something rappers deal with across the board. “A lot of rappers are already boxed in, no matter what they do. It’s not how I see it, but people’s attention spans are really short nowadays. Once a listener gets \u003cem>that\u003c/em>, they classify you as \u003cem>that\u003c/em>; it’s hard to break that barrier down.”\u003c/p>\n\u003cp>It’s a point that I’ve contemplated for some time, and a bit of a chicken or egg question. Was “that barrier” put there because the people said early on that West Coast hip-hop is the standard, and anything from out here has to fit into that mold? Or did the industry say this is how the West Coast sounds, so only artists who fit that mold rise to the top?\u003c/p>\n\u003cp>I called someone who knows about vocals, the industry and the coast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"P-Lo - Luh U ft. Bosko (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bM50ahgsRMc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CRXN6porW_G/?hl=en\">Bosko Kante\u003c/a>, an Oakland-based, Grammy-winning musician and creator of the handheld autotune instrument called the \u003ca href=\"https://www.electrospit.com/products/bosko-electrospit-talkbox-feature\" target=\"_blank\" rel=\"noopener noreferrer\">ElectroSpit Talkbox\u003c/a>, is originally from Portland, Oregon. Before moving to the Bay, he spent years in Los Angeles working with Bay Area artists like E-40, the Luniz and Dru Down. He also spent some time in Atlanta, where he worked Big Boi of Outkast. In 2020, Bosko contributed to Dua Lipa’s “Levitate,” arguably the biggest song of the year.\u003c/p>\n\u003cp>Back when he first moved to Los Angeles, Bosko says the popular artists of the time were Snoop and Warren G. “So I put out records, myself as a rapper, that sounded like those, because in my mind that’s what you had to do and that’s how you should sound to be successful,” Bosko tells me during a phone call. “To be within the West Coast rap genre, you have to be within a certain circle, but you want to be more toward the edge of that circle to stand out,” says Bosko, noting the odd balance of fitting in and simultaneously standing out.\u003c/p>\n\u003cp>As the founder of the \u003ca href=\"https://hiiiwav.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Music Incubator\u003c/a> nonprofit, housed at the former site of Zoo Labs, Bosko helps artists develop their sound. So, clearly, I had to ask him if we all sound alike.\u003c/p>\n\u003cp>“I do not agree that all Northern Californian artists sound the same,” says Bosko. “What I will say is that I think the Bay Area culture is one where we want to be different. So, in some ways, maybe we sound the same in that we sound different than the rest of the country.”\u003c/p>\n\u003cp>He adds that most artists from this region are proud of being from here, and that’s shown through their unique slang and style. “I’ll give it up to the Bay for being the most unique region in the country, in my opinion,” he says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larry June & Cardo - Gas Station Run (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Hyod7v38Ho0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Whatever your flavor, you’ll find it between the Sierra Mountains and the Pacific Ocean.\u003c/p>\n\u003cp>You could be on some healthy player stuff and listen to San Francisco’s \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a>. Or you could be on some ten-toes down “real P” stuff and listen to Oakland’s \u003ca href=\"https://www.instagram.com/capolow304/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Capolow\u003c/a>. Both of these artists use the ad-lib “Aye,” but do it in a different way. And you mean to tell me neither of them float your boat?\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/stunnagirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunna Girl\u003c/a> just dropped the braggadocio track “\u003ca href=\"https://www.youtube.com/watch?v=R8r-s0OyDHc\" target=\"_blank\" rel=\"noopener noreferrer\">Shut Me Up\u003c/a>.” Oakland’s \u003ca href=\"https://www.instagram.com/fredobagz4500/\" target=\"_blank\" rel=\"noopener noreferrer\">Fredo Bagz\u003c/a> has the aggressive flow on this week’s release “\u003ca href=\"https://www.youtube.com/watch?v=RT-NUfQns6U\" target=\"_blank\" rel=\"noopener noreferrer\">123\u003c/a>“. There’s the the spacey creative concepts found in \u003ca href=\"https://www.instagram.com/senorgigio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio’s\u003c/a> music. The boom-bap music of Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ovrkast\u003c/a>. San Francisco’s \u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a> has been running it up all year — her confident but relaxed bars on “\u003ca href=\"https://www.youtube.com/watch?v=ySjDu0rZSKM\" target=\"_blank\" rel=\"noopener noreferrer\">11:11\u003c/a>” illustrate her approach to the game. Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/\" target=\"_blank\" rel=\"noopener noreferrer\">Paris Nights\u003c/a> is spittin’ with aggression on a track she dropped earlier this month, “\u003ca href=\"https://www.youtube.com/watch?v=7CSIc2Cvwh4\" target=\"_blank\" rel=\"noopener noreferrer\">Coldest\u003c/a>.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stunna Girl - Shut me up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/R8r-s0OyDHc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, the Bay Area actor and active member of the \u003ca href=\"https://www.instagram.com/putangclanofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pu Tang Clan\u003c/a>, just released the first episode of her web series \u003cem>All Hail The Qing\u003c/em>. But if you need some raunchy bars, I’d suggest checking last year’s song “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener noreferrer\">Big D\u003c/a>.” Frisco factor \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs-One\u003c/a> is a graffiti writer, hip-hop historian and lyricist who has a beer named after one of his recent projects, \u003cem>Fog Mode\u003c/em>. San Lorenzo’s \u003ca href=\"https://www.instagram.com/rubyibarra/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a>, \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> outside of her rap career, raps in English and Tagalog in the song “Us,” and it \u003ca href=\"https://www.youtube.com/watch?v=fgDki5-FQgY\" target=\"_blank\" rel=\"noopener noreferrer\">was featured on NBA 2K23\u003c/a>.\u003c/p>\n\u003cp>There’s the Spanglish wordplay about street life coming from Oakland’s \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas\u003c/a>. That gritty straightforward flow San Francisco’s \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Blimes Brixton\u003c/a>. The cutthroat bars of Stockton’s \u003ca href=\"https://www.youtube.com/watch?v=xMO5gBczc7Q\" target=\"_blank\" rel=\"noopener noreferrer\">EBK Bckdoe\u003c/a>. The flashy and uptempo music of \u003ca href=\"https://www.instagram.com/drebaexo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Drebae\u003c/a>. The openly honest and catchy tunes coming from \u003ca href=\"https://www.instagram.com/marikasage/\" target=\"_blank\" rel=\"noopener noreferrer\">Marika Sage\u003c/a>. And there’s the multi-layered sounds of R&B, ranchera and rap coming from \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a daughter of the Mission District.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"La Doña - Le Lo Lai (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/f13atQz5QtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Look, \u003ca href=\"https://www.instagram.com/professagabel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a> has a chill flow. \u003ca href=\"https://www.instagram.com/fraktheperson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frak The Person\u003c/a> is a punchline and battle rapper. And \u003ca href=\"https://www.instagram.com/richiecunning/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> just dropped an album, \u003cem>Big Deal\u003c/em>, that merges rap with that smoky, jazz-club Sinatra sound. All three are white dudes from San Francisco, and even \u003cem>they\u003c/em> sound different from one another.\u003c/p>\n\u003cp>There’s the hardened tales of returning from being incarcerated and getting back into the streets coming from artists like Oakland’s \u003ca href=\"https://www.instagram.com/killa_fonte/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Killa Fonte\u003c/a> and Richmond’s \u003ca href=\"https://www.instagram.com/_blastacannon_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bla$ta\u003c/a>. And there’s the glossy pop-style sound of Frisco’s \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24KGoldn\u003c/a>, who just might be the next Bieber — but with more bars.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"24kGoldn - Mood (Official Video) ft. iann dior\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/GrAchTdepsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Literally everything you could ask for.\u003c/p>\n\u003cp>To overlook the diversity of sounds coming from the people who call this place home is to completely dismiss what makes this place unique.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And you’re telling me everyone from this region sounds the same? You, my friend, sound like everyone making that same old played-out-ass claim.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920746/bay-area-rap-cmon-its-different","authors":["11491"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_831","arts_9337","arts_13246","arts_1803","arts_924","arts_6500"],"featImg":"arts_13920913","label":"arts"},"arts_13918720":{"type":"posts","id":"arts_13918720","meta":{"index":"posts_1716263798","site":"arts","id":"13918720","score":null,"sort":[1662486910000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1662486910,"format":"standard","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","stats":{"hasVideo":false,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1530,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":14},"modified":1705006416,"excerpt":"An intergenerational crowd braved the heat wave to see Keyshia Cole, Hieroglyphics, LaRussell and more.","headData":{"twImgId":"","twTitle":"REVIEW: Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene","socialTitle":"REVIEW: Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene%%page%% %%sep%% KQED","ogTitle":"REVIEW: Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene","ogImgId":"","twDescription":"","description":"An intergenerational crowd braved the heat wave to see Keyshia Cole, Hieroglyphics, LaRussell and more.","title":"REVIEW: Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hiero Day 2022 Was a Family Reunion for Oakland’s Hip-Hop Scene","datePublished":"2022-09-06T10:55:10-07:00","dateModified":"2024-01-11T12:53:36-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"hiero-day-2022-oakland-review-photos","status":"publish","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"path":"/arts/13918720/hiero-day-2022-oakland-review-photos","audioTrackLength":null,"parsedContent":[{"type":"contentString","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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13918720/hiero-day-2022-oakland-review-photos","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_10278","arts_1088","arts_2284","arts_2173","arts_5371","arts_13246","arts_924","arts_769","arts_15217","arts_15215"],"featImg":"arts_13918753","label":"arts"},"arts_13906845":{"type":"posts","id":"arts_13906845","meta":{"index":"posts_1716263798","site":"arts","id":"13906845","score":null,"sort":[1638830907000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1638830907,"format":"standard","title":"The 10 Best Bay Area Albums of 2021","headTitle":"The 10 Best Bay Area Albums of 2021 | KQED","content":"\u003cp>There was no return to normal in 2021. In a weird, in-between year, many of us were grateful to gather again in homes, concert halls and dive bars for some much-needed spiritual sustenance. Yet the pandemic has forced us to constantly calculate risk and make adjustments to how we move about the world, and the best music of the year helped us navigate this time of buffering.\u003c/p>\n\u003cp>When KQED Arts & Culture looked back on the year in Bay Area music, we saw that the most compelling albums helped us contemplate our relationships to ourselves and our communities. We saw lyricists and instrumentalists reaching new heights of their powers, in terms of both craft and concept. They asked questions instead of speaking in absolutes, and nudged us towards empathy, understanding, catharsis and even joy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4QUyonrAyfrMvsQOn8xrBb?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Kelly, \u003cem>Kells is D.E.A.D.\u003c/em> (Jamla Records)\u003c/h2>\n\u003cp>Ironically, sunning in the aura of your authentic self often requires a symbolic death. \u003cem>Kells is D.E.A.D.\u003c/em> is Oakland rapper Ian Kelly’s sophomore album and it shines. With a narrative blend of catchy hooks and metaphors for days, the project chronicles the passing of Kelly’s former rap moniker. Be sure to listen on repeat to catch the wordplay. He spits, “Too many questions with no question marks / You’s a mark if you can’t spit your heart inside of this art” on my personal favorite, “Make Room.” On the standout track “Soul of a Man,” he proclaims, “Life after death / So my time spent is a pit stop.”\u003c/p>\n\u003cp>With unexpected sample flips and features by Reuben Vincent, GQ and Heather Victory, \u003cem>Kells is D.E.A.D.\u003c/em> is a testament to rebirth. Not many local rappers stepped into 2021 with such audacity, but Kelly stays humble. He’s signed to Jamla Records (9th Wonder’s independent record label) and is part of rap group Grand Nationxl, so the future looks bright for this agile lyricist.\u003cem>—Maddy Clifford\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>hawak, \u003cem>nước\u003c/em> (Zegema Beach Records)\u003c/h2>\n\u003cp>\u003cem>nước\u003c/em> is a multifaceted Vietnamese word: It means “water” most commonly, but can sometimes mean “country” or “nation.” It’s a slippery meaning appropriate for the title for hawak’s debut album, a screamo tone-poem exploring the liminality of refugees, immigrants and their children. It channels the pain of living an unstable, contradictory identity—“You ask yourself / Mày là ai?” (Who are you?) singer Tomm Nguyen shouts at the climax of one track. But the album isn’t content to wallow in Asian American existential despair without charting a way out. All the navel-gazing exploration of identity finally leads outward to a renewed faith in community in the last track: “We’re here with you! / We’ll stay with you! / We’re still with you!”\u003cem>—Adesh Thapliyal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5e5PRCyX77IfDVxTQF0vUZ?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miko Marks & the Resurrectors, \u003cem>Our Country\u003c/em> (Redtone Records)\u003c/h2>\n\u003cp>The Bay Area isn’t Nashville, but our country music artists possess a soulfulness and political consciousness that stand out in a culturally homogenous industry. In fact, country’s exclusionary gatekeepers almost cost Miko Marks her career in the 2000s. At the time, labels loved her sound but told her in euphemistic terms that she wasn’t a fit for a record deal, likely because of the color of her skin.\u003c/p>\n\u003cp>Undeterred, Miko Marks & the Resurrectors made a fierce comeback in 2021 with \u003cem>Our Country\u003c/em>, her first full-length release in 13 years. The foot-stomping, piano-driven opening track, “Ancestors,” grounds Marks in a courageous lineage as she prepares to speak truth to power. Her observations are clear-eyed as ever on “Good Night America,” an acoustic, slide-guitar eulogy for the American dream that indicts the nation’s hypocrisy. The folk ballad “Travel Light” burns slow like a smoldering campfire, and the gospel-steeped “Mercy” offers a prayer for strength. On \u003cem>Our Country\u003c/em>, Marks brings out tenderness and grief with the sheer emotion of her voice and lyrics, and gives us spiritual resolve to continue the fight for justice.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3444209659/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Keshav Batish, \u003cem>Binaries in Cycle\u003c/em> (Woven Strands Productions)\u003c/h2>\n\u003cp>As the scion of a celebrated musical clan, Keshav Batish is making his own way in the family business. Son of Mumbai-born sitar and tabla virtuoso Ashwin Batish, whose parents were both renowned musicians in North Indian classical music and beyond, the Santa Cruz-raised drummer and composer makes a dazzling debut with \u003cem>Binaries in Cycle\u003c/em>. While focusing on Batish’s intricately constructed originals drawing on his jazz and Hindustani musical training, the album includes two ringers, Ornette Coleman’s bouncy, rarely played tune “Police People” and Thelonious Monk’s standard “We See.”\u003c/p>\n\u003cp>But it’s the pieces he designed for the quartet that consistently impress. The opening, nearly 13-minute title track is a quicksilver odyssey that feints, darts and spins around his crisp and supple cymbal work; “Gayatri” is stately and incantatory. Recorded August 2020 as part of the \u003cem>Mondays with Kuumbwa\u003c/em> virtual performance series, the album features pianist Lucas Hahn and bassist Aron Caceres, Batish’s musical collaborators since junior high, and Israeli-born alto saxophonist Shay Salhov, a more recent connection who’s a generation older than his bandmates. Heady and gutsy, pensive and joyous, Indian and American, Batish’s music embraces duality as a path to a highly personal sound that promises discoveries to come.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5jowai2DVaDn3cgxigARdy?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Destroy Boys, \u003cem>Open Mouth, Open Heart\u003c/em> (Hopeless Records)\u003c/h2>\n\u003cp>With October’s \u003cem>Open Mouth, Open Heart\u003c/em>, Destroy Boys offered up 13 tracks of cathartic, angst-combating, middle-finger-pointing post-punk. The trio’s third album didn’t just signal their graduation from teen maybes to young contenders, it ignited an already faithful fanbase into a downright fervent one. And for good reason. \u003cem>Open Mouth, Open Heart\u003c/em> fearlessly combines punk rock defiance with riot grrrl snottiness, and centers it all with empathetic lyrics and stirring melodies.\u003c/p>\n\u003cp>Each song offers an unfiltered, visceral glimpse into the real-life strains and struggles of frontwoman Alexia Roditis. “Drink” is about breaking addiction cycles. “Locker Room Bully” pushes back against social media toxicity. “For What” challenges police brutality. And halfway through the album is a 50-second spoken word interlude about living with anxiety. For the first time, the band also included two Spanish language songs—“Lo peor” and “Te llevo conmigo”—to honor Roditis’ Argentinian heritage.\u003c/p>\n\u003cp>On “Escape,” the band declares: “I don’t see anyone asking anyone of any other profession, except for artists, what their plan B is … You know, I could really do without hearing that question ever again.” After \u003cem>Open Mouth, Open Heart\u003c/em>, they shouldn’t have to.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1IW9NLcYGgPBr2RRL0HML2?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Stunnaman02, \u003cem>I Gotta Feel It\u003c/em> (EMPIRE)\u003c/h2>\n\u003cp>Years from now, when we look talk about “coming out of quarantine,” we’ll get to that part in the conversation where we discuss the songs of the era. That’s when someone will mention Stunnaman02’s “Big Steppin,” and chances are they’ll \u003ca href=\"https://www.sfweekly.com/music/the-rise-of-big-steppin-stunnaman02s-viral-dance/\" target=\"_blank\" rel=\"noopener noreferrer\">hit the dance\u003c/a> that accompanies it.\u003c/p>\n\u003cp>The track has been played in clubs and brunches, and \u003ca href=\"https://www.youtube.com/watch?v=i0-23jajj0w&ab_channel=Stunnaman02%26QuakeBeatz-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">remixed for the 49ers\u003c/a>. The Warriors have even danced to it on the court. Beyond the motivational lyrics and uptempo beat, it’s the dance that has really carried the song. (For 170 consecutive days, Stunnaman02 posted videos of himself “Big Steppin’” everywhere from the East Bay Hills to Hawai’i.)\u003c/p>\n\u003cp>While many artists flood the market with album after album, Stunnaman02 dropped two projects this year. “Big Steppin’” was featured on the QuakeBeatz-produced album \u003cem>I Gotta Feel It\u003c/em>. Admittedly, the lead single tends to overshadow the rest of the track list, but songs like “Buzzin’” and “Chimmy Wit It” featuring Gunna Goes Global slap nonetheless. Yet it’s “Big Steppin’” that this album will be known for. And if we’re discussing music that came out of the Bay Area in 2021, it’s mandatory that this track is mentioned.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3221812617/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1640/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bachelor, \u003cem>Doomin’ Sun\u003c/em> (Polyvinyl Record Co.)\u003c/h2>\n\u003cp>If only more of 2021 lived up to the experience of listening to this album. Both intimate and expansive, \u003ci>Doomin’ Sun\u003c/i> has a track for every mood. Full of pent-up energy? Sing along to “Stay in the Car.” Need four minutes of dreamy introspection? Skip over to “Aurora.” The story behind Bachelor (Bay Area native Melina Duterte of Jay Som and Palehound’s Ellen Kempner) and their first release is one of long-term musical admiration, culminating in a two-week recording spree in January 2020. Written before lockdown and released mid-pandemic, \u003ci>Doomin’ Sun\u003c/i> is anything but dated. Duterte and Kempner’s songs about ecological collapse, queer love and the endless scroll of online life alternately shimmer and yelp, their warn and easy harmonies providing evidence of a musical collaboration I didn’t realize I was desperate to hear.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1aKVy5l48Zu3In3M0SbDEe?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell, \u003cem>Cook Together, Eat Together\u003c/em> (Good Compenny/Corite)\u003c/h2>\n\u003cp>Some rappers brag about success. On \u003cem>Cook Together, Eat Together\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> discusses it, analyzes it, computes it. In a steady stream of one-liners containing more truth than comedy, the Vallejo rapper has his eyes open to the world, not surprised by his success so much as gratified at the results of putting in the work. “Look at how it panned out,” he raps on the E-40 flip “Sprinkle Me,” “They offer you a seat when you stand out / Got a handful without a handout.” (The boss himself drops in for an anointing guest verse.) As the album title suggests, LaRussell puts on for his town, not least with his \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny video series\u003c/a>, which showcases young Bay Area talent. Like his peers, LaRussell is still hungry; across \u003cem>Cook Together\u003c/em>, his voice occasionally cracks in desperation. But it growls with determination, too. This is grown rap from a young star in the making.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3334000261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Joel St. Julien, \u003cem>Empathy\u003c/em> (Land and Sea)\u003c/h2>\n\u003cp>At a time of national reckoning, Haitian-American composer and sound artist Joel St. Julien gives listeners the gift of compassion. On his 2021 release \u003cem>Empathy\u003c/em>, the San Francisco-based artist’s instrumental music takes listeners on a healing journey.\u003c/p>\n\u003cp>With its ambient sounds and lush synthesizers, St. Julien’s music pulls us into the present, much like meditation. On the first track, “Empathy I” the song’s sonic synths and bouncy tempos echo the rumblings of unresolved conflict. On track six, “Where I am,” the rich sounds and soothing tones convey catharsis.\u003c/p>\n\u003cp>Like therapy, \u003cem>Empathy\u003c/em> invokes a contemplative state, and St. Julien’s compositions become the catalyst for introspection, emotional examination, and resolution.\u003cem>—Juli Fraga\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=769359718/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Nothing Lasts Forever\u003c/em> (Grand Nationxl)\u003c/h2>\n\u003cp>\u003cem>Nothing Lasts Forever\u003c/em> tells a lot of different stories about Bay Area hip-hop in 2021. For starters, it represents the fully-formed rebirth of erstwhile hyphy rapper Erk Tha Jerk as Kevin Allen. Next, it shows Allen as a master orchestrator who thoughtfully positions a cadre of ascendant artists. Among them is Ian Kelly, who hops on the jazz-inflected “Radio Raheem.” Guapdad 4000, who made noise well outside the Bay with his album \u003cem>1176\u003c/em>, is on the masterful canvas of “Unwind.” Jane Handcock, who was prominently featured on both Dame D.O.L.L.A.’s underrated \u003cem>Different On Levels The Lord Allowed\u003c/em> and on Snoop Dogg’s star-studded \u003cem>The Algorithm\u003c/em>, elevates both “Childish” and “Oh, The Irony.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the through line here is Allen. He started working on his solo album last year, before realizing that there was a legitimate collective brewing in the studio. His group Grand Nationxl’s fantastic \u003cem>Twice on Sunday\u003c/em> was born instead. Now on \u003cem>Nothing Lasts Forever\u003c/em>, the crew is back to help prop up their leader, and Allen is a sage-like presence we don’t have enough of in Bay Area rap these days. “What’s the point of having tools if you lack the screws?” he raps on album opener “Franklin Saint,” one of the many grateful moments filled with poise and commitment to what he’s building in the present. Now the challenge is to maintain longevity with it all, and with Allen at the helm, all the elements are in place.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\n","stats":{"hasVideo":false,"hasChartOrMap":true,"hasAudio":false,"hasPolis":false,"wordCount":2181,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3444209659/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3221812617/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1640/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3334000261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=769359718/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"paragraphCount":34},"modified":1705007417,"excerpt":"In a confusing year, the best albums nudged us towards greater empathy, understanding, catharsis and even joy. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"In a confusing year, the best albums nudged us towards greater empathy, understanding, catharsis and even joy. ","title":"The 10 Best Bay Area Albums of 2021 | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2021","datePublished":"2021-12-06T14:48:27-08:00","dateModified":"2024-01-11T13:10:17-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2021","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"source":"2021 recapped","path":"/arts/13906845/the-10-best-bay-area-albums-of-2021","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There was no return to normal in 2021. In a weird, in-between year, many of us were grateful to gather again in homes, concert halls and dive bars for some much-needed spiritual sustenance. Yet the pandemic has forced us to constantly calculate risk and make adjustments to how we move about the world, and the best music of the year helped us navigate this time of buffering.\u003c/p>\n\u003cp>When KQED Arts & Culture looked back on the year in Bay Area music, we saw that the most compelling albums helped us contemplate our relationships to ourselves and our communities. We saw lyricists and instrumentalists reaching new heights of their powers, in terms of both craft and concept. They asked questions instead of speaking in absolutes, and nudged us towards empathy, understanding, catharsis and even joy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4QUyonrAyfrMvsQOn8xrBb?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Ian Kelly, \u003cem>Kells is D.E.A.D.\u003c/em> (Jamla Records)\u003c/h2>\n\u003cp>Ironically, sunning in the aura of your authentic self often requires a symbolic death. \u003cem>Kells is D.E.A.D.\u003c/em> is Oakland rapper Ian Kelly’s sophomore album and it shines. With a narrative blend of catchy hooks and metaphors for days, the project chronicles the passing of Kelly’s former rap moniker. Be sure to listen on repeat to catch the wordplay. He spits, “Too many questions with no question marks / You’s a mark if you can’t spit your heart inside of this art” on my personal favorite, “Make Room.” On the standout track “Soul of a Man,” he proclaims, “Life after death / So my time spent is a pit stop.”\u003c/p>\n\u003cp>With unexpected sample flips and features by Reuben Vincent, GQ and Heather Victory, \u003cem>Kells is D.E.A.D.\u003c/em> is a testament to rebirth. Not many local rappers stepped into 2021 with such audacity, but Kelly stays humble. He’s signed to Jamla Records (9th Wonder’s independent record label) and is part of rap group Grand Nationxl, so the future looks bright for this agile lyricist.\u003cem>—Maddy Clifford\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2034859009/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>hawak, \u003cem>nước\u003c/em> (Zegema Beach Records)\u003c/h2>\n\u003cp>\u003cem>nước\u003c/em> is a multifaceted Vietnamese word: It means “water” most commonly, but can sometimes mean “country” or “nation.” It’s a slippery meaning appropriate for the title for hawak’s debut album, a screamo tone-poem exploring the liminality of refugees, immigrants and their children. It channels the pain of living an unstable, contradictory identity—“You ask yourself / Mày là ai?” (Who are you?) singer Tomm Nguyen shouts at the climax of one track. But the album isn’t content to wallow in Asian American existential despair without charting a way out. All the navel-gazing exploration of identity finally leads outward to a renewed faith in community in the last track: “We’re here with you! / We’ll stay with you! / We’re still with you!”\u003cem>—Adesh Thapliyal\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5e5PRCyX77IfDVxTQF0vUZ?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Miko Marks & the Resurrectors, \u003cem>Our Country\u003c/em> (Redtone Records)\u003c/h2>\n\u003cp>The Bay Area isn’t Nashville, but our country music artists possess a soulfulness and political consciousness that stand out in a culturally homogenous industry. In fact, country’s exclusionary gatekeepers almost cost Miko Marks her career in the 2000s. At the time, labels loved her sound but told her in euphemistic terms that she wasn’t a fit for a record deal, likely because of the color of her skin.\u003c/p>\n\u003cp>Undeterred, Miko Marks & the Resurrectors made a fierce comeback in 2021 with \u003cem>Our Country\u003c/em>, her first full-length release in 13 years. The foot-stomping, piano-driven opening track, “Ancestors,” grounds Marks in a courageous lineage as she prepares to speak truth to power. Her observations are clear-eyed as ever on “Good Night America,” an acoustic, slide-guitar eulogy for the American dream that indicts the nation’s hypocrisy. The folk ballad “Travel Light” burns slow like a smoldering campfire, and the gospel-steeped “Mercy” offers a prayer for strength. On \u003cem>Our Country\u003c/em>, Marks brings out tenderness and grief with the sheer emotion of her voice and lyrics, and gives us spiritual resolve to continue the fight for justice.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3444209659/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Keshav Batish, \u003cem>Binaries in Cycle\u003c/em> (Woven Strands Productions)\u003c/h2>\n\u003cp>As the scion of a celebrated musical clan, Keshav Batish is making his own way in the family business. Son of Mumbai-born sitar and tabla virtuoso Ashwin Batish, whose parents were both renowned musicians in North Indian classical music and beyond, the Santa Cruz-raised drummer and composer makes a dazzling debut with \u003cem>Binaries in Cycle\u003c/em>. While focusing on Batish’s intricately constructed originals drawing on his jazz and Hindustani musical training, the album includes two ringers, Ornette Coleman’s bouncy, rarely played tune “Police People” and Thelonious Monk’s standard “We See.”\u003c/p>\n\u003cp>But it’s the pieces he designed for the quartet that consistently impress. The opening, nearly 13-minute title track is a quicksilver odyssey that feints, darts and spins around his crisp and supple cymbal work; “Gayatri” is stately and incantatory. Recorded August 2020 as part of the \u003cem>Mondays with Kuumbwa\u003c/em> virtual performance series, the album features pianist Lucas Hahn and bassist Aron Caceres, Batish’s musical collaborators since junior high, and Israeli-born alto saxophonist Shay Salhov, a more recent connection who’s a generation older than his bandmates. Heady and gutsy, pensive and joyous, Indian and American, Batish’s music embraces duality as a path to a highly personal sound that promises discoveries to come.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5jowai2DVaDn3cgxigARdy?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Destroy Boys, \u003cem>Open Mouth, Open Heart\u003c/em> (Hopeless Records)\u003c/h2>\n\u003cp>With October’s \u003cem>Open Mouth, Open Heart\u003c/em>, Destroy Boys offered up 13 tracks of cathartic, angst-combating, middle-finger-pointing post-punk. The trio’s third album didn’t just signal their graduation from teen maybes to young contenders, it ignited an already faithful fanbase into a downright fervent one. And for good reason. \u003cem>Open Mouth, Open Heart\u003c/em> fearlessly combines punk rock defiance with riot grrrl snottiness, and centers it all with empathetic lyrics and stirring melodies.\u003c/p>\n\u003cp>Each song offers an unfiltered, visceral glimpse into the real-life strains and struggles of frontwoman Alexia Roditis. “Drink” is about breaking addiction cycles. “Locker Room Bully” pushes back against social media toxicity. “For What” challenges police brutality. And halfway through the album is a 50-second spoken word interlude about living with anxiety. For the first time, the band also included two Spanish language songs—“Lo peor” and “Te llevo conmigo”—to honor Roditis’ Argentinian heritage.\u003c/p>\n\u003cp>On “Escape,” the band declares: “I don’t see anyone asking anyone of any other profession, except for artists, what their plan B is … You know, I could really do without hearing that question ever again.” After \u003cem>Open Mouth, Open Heart\u003c/em>, they shouldn’t have to.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1IW9NLcYGgPBr2RRL0HML2?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Stunnaman02, \u003cem>I Gotta Feel It\u003c/em> (EMPIRE)\u003c/h2>\n\u003cp>Years from now, when we look talk about “coming out of quarantine,” we’ll get to that part in the conversation where we discuss the songs of the era. That’s when someone will mention Stunnaman02’s “Big Steppin,” and chances are they’ll \u003ca href=\"https://www.sfweekly.com/music/the-rise-of-big-steppin-stunnaman02s-viral-dance/\" target=\"_blank\" rel=\"noopener noreferrer\">hit the dance\u003c/a> that accompanies it.\u003c/p>\n\u003cp>The track has been played in clubs and brunches, and \u003ca href=\"https://www.youtube.com/watch?v=i0-23jajj0w&ab_channel=Stunnaman02%26QuakeBeatz-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">remixed for the 49ers\u003c/a>. The Warriors have even danced to it on the court. Beyond the motivational lyrics and uptempo beat, it’s the dance that has really carried the song. (For 170 consecutive days, Stunnaman02 posted videos of himself “Big Steppin’” everywhere from the East Bay Hills to Hawai’i.)\u003c/p>\n\u003cp>While many artists flood the market with album after album, Stunnaman02 dropped two projects this year. “Big Steppin’” was featured on the QuakeBeatz-produced album \u003cem>I Gotta Feel It\u003c/em>. Admittedly, the lead single tends to overshadow the rest of the track list, but songs like “Buzzin’” and “Chimmy Wit It” featuring Gunna Goes Global slap nonetheless. Yet it’s “Big Steppin’” that this album will be known for. And if we’re discussing music that came out of the Bay Area in 2021, it’s mandatory that this track is mentioned.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3221812617/size=large/bgcol=ffffff/linkcol=0687f5/license_id=1640/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Bachelor, \u003cem>Doomin’ Sun\u003c/em> (Polyvinyl Record Co.)\u003c/h2>\n\u003cp>If only more of 2021 lived up to the experience of listening to this album. Both intimate and expansive, \u003ci>Doomin’ Sun\u003c/i> has a track for every mood. Full of pent-up energy? Sing along to “Stay in the Car.” Need four minutes of dreamy introspection? Skip over to “Aurora.” The story behind Bachelor (Bay Area native Melina Duterte of Jay Som and Palehound’s Ellen Kempner) and their first release is one of long-term musical admiration, culminating in a two-week recording spree in January 2020. Written before lockdown and released mid-pandemic, \u003ci>Doomin’ Sun\u003c/i> is anything but dated. Duterte and Kempner’s songs about ecological collapse, queer love and the endless scroll of online life alternately shimmer and yelp, their warn and easy harmonies providing evidence of a musical collaboration I didn’t realize I was desperate to hear.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1aKVy5l48Zu3In3M0SbDEe?utm_source=generator\" width=\"100%\" height=\"380\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>LaRussell, \u003cem>Cook Together, Eat Together\u003c/em> (Good Compenny/Corite)\u003c/h2>\n\u003cp>Some rappers brag about success. On \u003cem>Cook Together, Eat Together\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13906706/the-year-larussell-called-his-shot\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> discusses it, analyzes it, computes it. In a steady stream of one-liners containing more truth than comedy, the Vallejo rapper has his eyes open to the world, not surprised by his success so much as gratified at the results of putting in the work. “Look at how it panned out,” he raps on the E-40 flip “Sprinkle Me,” “They offer you a seat when you stand out / Got a handful without a handout.” (The boss himself drops in for an anointing guest verse.) As the album title suggests, LaRussell puts on for his town, not least with his \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny video series\u003c/a>, which showcases young Bay Area talent. Like his peers, LaRussell is still hungry; across \u003cem>Cook Together\u003c/em>, his voice occasionally cracks in desperation. But it growls with determination, too. This is grown rap from a young star in the making.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3334000261/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Joel St. Julien, \u003cem>Empathy\u003c/em> (Land and Sea)\u003c/h2>\n\u003cp>At a time of national reckoning, Haitian-American composer and sound artist Joel St. Julien gives listeners the gift of compassion. On his 2021 release \u003cem>Empathy\u003c/em>, the San Francisco-based artist’s instrumental music takes listeners on a healing journey.\u003c/p>\n\u003cp>With its ambient sounds and lush synthesizers, St. Julien’s music pulls us into the present, much like meditation. On the first track, “Empathy I” the song’s sonic synths and bouncy tempos echo the rumblings of unresolved conflict. On track six, “Where I am,” the rich sounds and soothing tones convey catharsis.\u003c/p>\n\u003cp>Like therapy, \u003cem>Empathy\u003c/em> invokes a contemplative state, and St. Julien’s compositions become the catalyst for introspection, emotional examination, and resolution.\u003cem>—Juli Fraga\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=769359718/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kevin Allen, \u003cem>Nothing Lasts Forever\u003c/em> (Grand Nationxl)\u003c/h2>\n\u003cp>\u003cem>Nothing Lasts Forever\u003c/em> tells a lot of different stories about Bay Area hip-hop in 2021. For starters, it represents the fully-formed rebirth of erstwhile hyphy rapper Erk Tha Jerk as Kevin Allen. Next, it shows Allen as a master orchestrator who thoughtfully positions a cadre of ascendant artists. Among them is Ian Kelly, who hops on the jazz-inflected “Radio Raheem.” Guapdad 4000, who made noise well outside the Bay with his album \u003cem>1176\u003c/em>, is on the masterful canvas of “Unwind.” Jane Handcock, who was prominently featured on both Dame D.O.L.L.A.’s underrated \u003cem>Different On Levels The Lord Allowed\u003c/em> and on Snoop Dogg’s star-studded \u003cem>The Algorithm\u003c/em>, elevates both “Childish” and “Oh, The Irony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the through line here is Allen. He started working on his solo album last year, before realizing that there was a legitimate collective brewing in the studio. His group Grand Nationxl’s fantastic \u003cem>Twice on Sunday\u003c/em> was born instead. Now on \u003cem>Nothing Lasts Forever\u003c/em>, the crew is back to help prop up their leader, and Allen is a sage-like presence we don’t have enough of in Bay Area rap these days. “What’s the point of having tools if you lack the screws?” he raps on album opener “Franklin Saint,” one of the many grateful moments filled with poise and commitment to what he’s building in the present. Now the challenge is to maintain longevity with it all, and with Allen at the helm, all the elements are in place.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906845/the-10-best-bay-area-albums-of-2021","authors":["92"],"categories":["arts_1"],"tags":["arts_16311","arts_7534","arts_10342","arts_10278","arts_831","arts_6129","arts_13246","arts_16222","arts_5422"],"featImg":"arts_13906906","label":"source_arts_13906845"},"arts_13906706":{"type":"posts","id":"arts_13906706","meta":{"index":"posts_1716263798","site":"arts","id":"13906706","score":null,"sort":[1638824406000]},"parent":0,"labelTerm":{},"blocks":[],"publishDate":1638824406,"format":"aside","title":"The Year LaRussell Called His Shot","headTitle":"The Year LaRussell Called His Shot | KQED","content":"\u003cfigure id=\"attachment_13906893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg\" alt=\"LaRussell poses looking off camera in a stoic expression, the photo is black and white.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell. \u003ccite>(Joshua Lee Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“V\u003c/span>ALLEJO! Stand the fuck up!,” read the first sentence of a Jan. 27 \u003ca href=\"https://twitter.com/larussellgc/status/1354585740760338439?s=21\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a> from Vallejo rapper LaRussell. “We bringing trophies home this year! I don’t always win but I always take the risk, they never cheer for you until it go over the fence,” he concluded, referencing his own lyrics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Attached was a video of LaRussell behind a microphone, gassing an instrumental, one of many videos he’s posted this year.\u003c/p>\n\u003cp>But this video was different. This was his Babe Ruth moment.\u003c/p>\n\u003cp>LaRussell metaphorically stood at home plate, calling his shot as he pointed toward the center-field fence. And then he proceeded to knock the cover off the ball. Again and again, all throughout 2021.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>LaRussell went on to drop three albums this year, and built a heck of a fanbase along the way. In January, he had about 4,000 followers on Instagram. He’s sitting at nearly 75,000 as of this article. One of his most noted songs, “\u003ca href=\"https://www.youtube.com/watch?v=zk8L-CoNk2k\" target=\"_blank\" rel=\"noopener noreferrer\">Do That Lil Dance You Be Doing\u003c/a>,” has accumulated nearly 30,000 views since it dropped last December. He and the \u003ca href=\"https://www.youtube.com/c/GoodCompenny\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny\u003c/a> team have posted over 200 videos of LaRussell and other Northern California artists performing in their studio over the past year, and they’ve been widely shared; one video \u003ca href=\"https://www.youtube.com/watch?v=umsClQ6jeAU\" target=\"_blank\" rel=\"noopener noreferrer\">featuring Shanté singing Etta James’ “I’d Rather Go Blind”\u003c/a> was reposted by Snoop Dogg back in March.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umsClQ6jeAU\u003c/p>\n\u003cp>Something major has happened just about every month of 2021 for LaRussell and Co.\u003c/p>\n\u003cp>In July, LaRussell had a meeting and took photos with music mogul \u003ca href=\"https://twitter.com/LaRussellGC/status/1420181940393504771?s=20\">L.A. Reid\u003c/a>. In August, \u003ca href=\"https://twitter.com/LaRussellGC/status/1429139523695349761?s=20\">KMEL\u003c/a>, the cornerstone hip-hop station in Northern California, played LaRussell’s tracks “\u003ca href=\"https://www.youtube.com/watch?v=2VIsKi7AcBM\" target=\"_blank\" rel=\"noopener noreferrer\">Who’s Counting\u003c/a>,” and later followed up with “\u003ca href=\"https://www.youtube.com/watch?v=RQebKQ2LHJ4\" target=\"_blank\" rel=\"noopener noreferrer\">Talk Bout It\u003c/a>.” The next month, LaRussell was in New York, \u003ca href=\"https://www.youtube.com/watch?v=ohbFe8JsAh0\">spittin’ bars on one of the top hip-hop shows in the world, The Breakfast Club\u003c/a>. In October, he appeared alongside P-Lo and E-40, representing three generations of Bay Area hip-hop, on the song “\u003ca href=\"https://www.youtube.com/watch?v=KTjZ2FRWLdY\">Again\u003c/a>.”\u003c/p>\n\u003cp>In November, \u003ca href=\"https://twitter.com/LaRussellGC/status/1457065271798157324?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort\u003c/a> pulled up to LaRussell’s crib and took photos with his family. Shortly after, LaRussell rocked the stage at a show with the godfather of independent rap music.\u003c/p>\n\u003cp>And in late November, LaRussell announced that \u003ca href=\"https://twitter.com/LaRussellGC/status/1463579177609691138?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">he’s selling shares of his catalog\u003c/a> to fans who want to build wealth as he ascends in notoriety. Meaning that people can buy an opportunity to receive royalties from his songs, earning passive income as his music is streamed.\u003c/p>\n\u003cp>It’s an unheard of move for a budding artist. But as he often says, \u003ci>it’s different\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13906728\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg\" alt=\"LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile all this momentum was still building, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">I wrote a column\u003c/a> about LaRussell and the Good Compenny team, highlighting his talent and the team’s unique approach to putting on others while growing themselves.\u003c/p>\n\u003cp>The article was published a day before he hit send on that tweet. Little did I know I was capturing the North Vallejo Bambino predicting the home run—or rather, the run from home he’d have this year.\u003c/p>\n\u003cp>But despite what seems like a meteoric rise, earlier this year LaRussell posted\u003ca href=\"https://www.youtube.com/watch?v=Pd75Gmo_4PM\" target=\"_blank\" rel=\"noopener noreferrer\"> a video\u003c/a> of him rapping from 10 years ago, back when he was known as Tota Shakur—evidence that his success didn’t come overnight.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pd75Gmo_4PM\u003c/p>\n\u003cp>Listen to the lyrics in his most recent music, and you’ll catch on to some of his common sayings, like “the flow is water” and “hopped in my bag,” along with one of the more notable laughs this side of Jadakiss.\u003c/p>\n\u003cp>But it’s the lines where he talks about his career being organic, getting it out the mud, building it from the ground up and clearly stating that his mom, dad and other family members and friends have supported his climb—that’s what stands out to me.\u003c/p>\n\u003cp>Seeing this support system in person was one of the highlights of watching LaRussell’s ascension this year.\u003c/p>\n\u003cp>In October, he hosted an event with a sliding-scale ticket price at Izzy’s Event Center on Georgia Street in Vallejo. I stood stage left watching LaRussell rap his ass off with one mic and some instrumentals, not rapping over his own vocals like so many rappers do. At one point I checked my watch and confirmed that he had been spitting for over an hour straight. Plus he was cracking jokes, dancing, doing call-and-response, and taking requests from people in the crowd who know his catalog by song name and project title.\u003c/p>\n\u003cfigure id=\"attachment_13906730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell-800x429.jpg\" alt=\"LaRussell performing in Vallejo, in front of a crowd of people who are holding their phones with the lights on, creating a cool illusions in the smokey room. \" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at Izzy’s Event Center in Vallejo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ceiling was low and it was hot as a firefighter’s armpits in that joint, but he was rocking. Body odor and the scent of the smoke machine were overpowered by the smell of the platter of food on the table behind me. (The catering had come compliments of his dad, standing not too far from the food.)\u003c/p>\n\u003cp>On the other side of the stage, a couple of women bounced to the music with LaRussell’s mom. One in particular gigged a lil harder when LaRussell rapped, “go auntie, go auntie, go.” She got on stage, and sure enough, it was his actual auntie. [aside postID='arts_13920004']\u003c/p>\n\u003cp>But it wasn’t just family in the building feeling themselves like yee—there were fans, longtime friends and more. \u003ca href=\"https://twitter.com/itsTOPE\" target=\"_blank\" rel=\"noopener noreferrer\">Tope\u003c/a>, the producer behind one of LaRussell’s 2021 albums, \u003cem>Cook Together, Eat Together\u003c/em>, came from Oregon for the show.\u003c/p>\n\u003cp>Two other artists who had big years were there, too. East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, who dropped \u003ci>K.E.L.L.S. Is Dead\u003c/i> in January, was in the back. Not too far from him stood \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, who dropped the album \u003ci>I Gotta Feel It\u003c/i> a few days into 2021. That project features the smash hit “Big Steppin’,” a song that’s \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" target=\"_blank\" rel=\"noopener noreferrer\">taken over the Bay Area this year\u003c/a>.\u003c/p>\n\u003cp>Between numerous guest appearances on other projects and dropping multiple videos, Ian Kelly found time to \u003ca href=\"https://www.youtube.com/watch?v=Ew72hosrGcc\" target=\"_blank\" rel=\"noopener noreferrer\">record a cold set of bars\u003c/a> with the Good Compenny crew earlier this year.\u003c/p>\n\u003cp>And with over 170 consecutive days of the #BigSteppinChallenge, filmed with folks from here to Hawaii, Stunnaman02 and LaRussell found time to take a bike ride and record \u003ca href=\"https://twitter.com/LaRussellGC/status/1428161363138863114?s=20\">some music\u003c/a> as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-27_FP-pLU\u003c/p>\n\u003cp>From the food LaRussell’s pop cooked to the way artists and community were cooking together, I saw what was going on. There’s a culture of mutual support naturally brewing here.\u003c/p>\n\u003cp>“You can’t tell who I don’t know at my shows,” LaRussell tells me during a phone call earlier this month. “I’m hugging everybody and chopping it up with everybody, you feel me?” He says even folks who are new to the fold get a taste of that love. “I feel like a lot of my fans ain’t fans,” LaRussell tells me. “It’s very internal, especially how I navigate and run my career. I’m so accessible.”\u003c/p>\n\u003cp>But the success is putting him and his family in circles that most people never access. He tells me about his mom meeting Too $hort and his pops meeting L.A. Reid, as well as taking the crew and family along with him on his trip to New York for the Breakfast Club appearance. “It’s becoming our new norm,” he says. “The norm that you never expected to happen.”\u003c/p>\n\u003cp>The key to not getting overwhelmed by this success, he says, is “fucking with the energy and moving accordingly.” LaRussell says that when things first started taking off, he was overwhelmed, jumping at everything. Now he’s taking time and running his own plays. And his latest play is a rare one.\u003c/p>\n\u003cfigure id=\"attachment_13906733\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DSC01906-800x535.jpg\" alt=\"LaRussell performing at The New Parish in Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at The New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s selling shares of his catalog to people to help them build wealth as he grows as an artist. “When I make a song, there’s a 100% revenue being made,” says LaRussell, an independent artist. “I’m like fuck it, I don’t even need to make \u003ci>this\u003c/i>\u003cem> much\u003c/em>. So, let me give some to the (people) who support my music and stream it.”\u003c/p>\n\u003cp>He breaks it down like this: Imagine if you would’ve invested in Jay-Z’s music in the ’90s, and now he’s Shawn Carter. Boom, you win at life.\u003c/p>\n\u003cp>And then LaRussell introduces me to the idea of “one billion stream songs,” tracks of his like “Do That Lil Dance You Be Doing’,” that could very likely one day see a million, or even a billion streams. “Just 1% of that song can change your life,” says LaRussell.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He’s selling shares for $250-$1,000. He’s adamant about it being for fans, saying that he’s been contacted by investment firms and he’s given then a firm “no.”\u003c/p>\n\u003cp>He’s had to deal with some naysayers, but that comes with being innovative. And the system isn’t new. He says he’s been dividing dividends with his own team and they’ve had no issues. “It’s only an issue when (potential investors) come in with malicious intent,” says LaRussell, noting that he personally sources the offers.\u003c/p>\n\u003cp>“I talk to these people. I’m telling them what this is. This isn’t a get-rich-quick investment. Don’t give me no money if you don’t love my music and want to support me,” LaRussell tells me. “This is about building community wealth. In the span of my career, I’m probably going to change the lives of thousands of people, you know?”\u003c/p>\n\u003cp>There he is, standing at home plate, pointing even further into the distance and calling his shot once again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ohbFe8JsAh0\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>aRussell tells me that the highlight of his 2021 campaign was easily the Breakfast Club appearance. It’s not just that he got to speak his piece on a major platform, but the fact that when he picked up his daughter from school a short while later, one of the kids recognized him from that appearance.\u003c/p>\n\u003cp>“You’re not really in the game until you do certain things,” LaRussell tells me, gearing up for another sports metaphor. “You’re not great in the league until you win a ring or get MVP. And Breakfast Club, for a nigga like me, from Vallejo, that was like my ring.”\u003c/p>\n\u003cp>Knowing that in a few weeks, the calendar will flip and it’ll be a new season, I ask the Croc-sporting lyricist: what’s next?\u003c/p>\n\u003cp>He answers with a question.\u003c/p>\n\u003cp>“What are all the things people accomplish in a year? How about a career? How many albums? Award shows? Platforms?” he asks, semi-rhetorically. His initial goal was to do all that within the next year. He thought about it, and now wants to do it in three months.\u003c/p>\n\u003cp>“I know, it’s one of those things that’s not really obtainable,” LaRussell says in a rare grounded tone. “But it’s like, when you shoot for that type of goal, you can only end up better.”\u003c/p>\n\u003cp>In other words: the 2022 season starts soon.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":2051,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":45},"modified":1705007420,"excerpt":"The Vallejo rapper's Babe Ruth moment came in January—and it's been home run after home run ever since.","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"The Vallejo rapper's Babe Ruth moment came in January—and it's been home run after home run ever since.","title":"The Year LaRussell Called His Shot | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Year LaRussell Called His Shot","datePublished":"2021-12-06T13:00:06-08:00","dateModified":"2024-01-11T13:10:20-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"the-year-larussell-called-his-shot","status":"publish","sourceUrl":"https://www.kqed.org/arts/tag/2021-recapped","templateType":"standard","excludeFromSiteSearch":"Include","featuredImageType":"standard","sticky":false,"source":"2021 recapped","path":"/arts/13906706/the-year-larussell-called-his-shot","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg\" alt=\"LaRussell poses looking off camera in a stoic expression, the photo is black and white.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell. \u003ccite>(Joshua Lee Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“V\u003c/span>ALLEJO! Stand the fuck up!,” read the first sentence of a Jan. 27 \u003ca href=\"https://twitter.com/larussellgc/status/1354585740760338439?s=21\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a> from Vallejo rapper LaRussell. “We bringing trophies home this year! I don’t always win but I always take the risk, they never cheer for you until it go over the fence,” he concluded, referencing his own lyrics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Attached was a video of LaRussell behind a microphone, gassing an instrumental, one of many videos he’s posted this year.\u003c/p>\n\u003cp>But this video was different. This was his Babe Ruth moment.\u003c/p>\n\u003cp>LaRussell metaphorically stood at home plate, calling his shot as he pointed toward the center-field fence. And then he proceeded to knock the cover off the ball. Again and again, all throughout 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LaRussell went on to drop three albums this year, and built a heck of a fanbase along the way. In January, he had about 4,000 followers on Instagram. He’s sitting at nearly 75,000 as of this article. One of his most noted songs, “\u003ca href=\"https://www.youtube.com/watch?v=zk8L-CoNk2k\" target=\"_blank\" rel=\"noopener noreferrer\">Do That Lil Dance You Be Doing\u003c/a>,” has accumulated nearly 30,000 views since it dropped last December. He and the \u003ca href=\"https://www.youtube.com/c/GoodCompenny\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny\u003c/a> team have posted over 200 videos of LaRussell and other Northern California artists performing in their studio over the past year, and they’ve been widely shared; one video \u003ca href=\"https://www.youtube.com/watch?v=umsClQ6jeAU\" target=\"_blank\" rel=\"noopener noreferrer\">featuring Shanté singing Etta James’ “I’d Rather Go Blind”\u003c/a> was reposted by Snoop Dogg back in March.\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/umsClQ6jeAU'\n title='//www.youtube.com/embed/umsClQ6jeAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something major has happened just about every month of 2021 for LaRussell and Co.\u003c/p>\n\u003cp>In July, LaRussell had a meeting and took photos with music mogul \u003ca href=\"https://twitter.com/LaRussellGC/status/1420181940393504771?s=20\">L.A. Reid\u003c/a>. In August, \u003ca href=\"https://twitter.com/LaRussellGC/status/1429139523695349761?s=20\">KMEL\u003c/a>, the cornerstone hip-hop station in Northern California, played LaRussell’s tracks “\u003ca href=\"https://www.youtube.com/watch?v=2VIsKi7AcBM\" target=\"_blank\" rel=\"noopener noreferrer\">Who’s Counting\u003c/a>,” and later followed up with “\u003ca href=\"https://www.youtube.com/watch?v=RQebKQ2LHJ4\" target=\"_blank\" rel=\"noopener noreferrer\">Talk Bout It\u003c/a>.” The next month, LaRussell was in New York, \u003ca href=\"https://www.youtube.com/watch?v=ohbFe8JsAh0\">spittin’ bars on one of the top hip-hop shows in the world, The Breakfast Club\u003c/a>. In October, he appeared alongside P-Lo and E-40, representing three generations of Bay Area hip-hop, on the song “\u003ca href=\"https://www.youtube.com/watch?v=KTjZ2FRWLdY\">Again\u003c/a>.”\u003c/p>\n\u003cp>In November, \u003ca href=\"https://twitter.com/LaRussellGC/status/1457065271798157324?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort\u003c/a> pulled up to LaRussell’s crib and took photos with his family. Shortly after, LaRussell rocked the stage at a show with the godfather of independent rap music.\u003c/p>\n\u003cp>And in late November, LaRussell announced that \u003ca href=\"https://twitter.com/LaRussellGC/status/1463579177609691138?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">he’s selling shares of his catalog\u003c/a> to fans who want to build wealth as he ascends in notoriety. Meaning that people can buy an opportunity to receive royalties from his songs, earning passive income as his music is streamed.\u003c/p>\n\u003cp>It’s an unheard of move for a budding artist. But as he often says, \u003ci>it’s different\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13906728\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg\" alt=\"LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile all this momentum was still building, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">I wrote a column\u003c/a> about LaRussell and the Good Compenny team, highlighting his talent and the team’s unique approach to putting on others while growing themselves.\u003c/p>\n\u003cp>The article was published a day before he hit send on that tweet. Little did I know I was capturing the North Vallejo Bambino predicting the home run—or rather, the run from home he’d have this year.\u003c/p>\n\u003cp>But despite what seems like a meteoric rise, earlier this year LaRussell posted\u003ca href=\"https://www.youtube.com/watch?v=Pd75Gmo_4PM\" target=\"_blank\" rel=\"noopener noreferrer\"> a video\u003c/a> of him rapping from 10 years ago, back when he was known as Tota Shakur—evidence that his success didn’t come overnight.\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/Pd75Gmo_4PM'\n title='//www.youtube.com/embed/Pd75Gmo_4PM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen to the lyrics in his most recent music, and you’ll catch on to some of his common sayings, like “the flow is water” and “hopped in my bag,” along with one of the more notable laughs this side of Jadakiss.\u003c/p>\n\u003cp>But it’s the lines where he talks about his career being organic, getting it out the mud, building it from the ground up and clearly stating that his mom, dad and other family members and friends have supported his climb—that’s what stands out to me.\u003c/p>\n\u003cp>Seeing this support system in person was one of the highlights of watching LaRussell’s ascension this year.\u003c/p>\n\u003cp>In October, he hosted an event with a sliding-scale ticket price at Izzy’s Event Center on Georgia Street in Vallejo. I stood stage left watching LaRussell rap his ass off with one mic and some instrumentals, not rapping over his own vocals like so many rappers do. At one point I checked my watch and confirmed that he had been spitting for over an hour straight. Plus he was cracking jokes, dancing, doing call-and-response, and taking requests from people in the crowd who know his catalog by song name and project title.\u003c/p>\n\u003cfigure id=\"attachment_13906730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell-800x429.jpg\" alt=\"LaRussell performing in Vallejo, in front of a crowd of people who are holding their phones with the lights on, creating a cool illusions in the smokey room. \" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at Izzy’s Event Center in Vallejo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ceiling was low and it was hot as a firefighter’s armpits in that joint, but he was rocking. Body odor and the scent of the smoke machine were overpowered by the smell of the platter of food on the table behind me. (The catering had come compliments of his dad, standing not too far from the food.)\u003c/p>\n\u003cp>On the other side of the stage, a couple of women bounced to the music with LaRussell’s mom. One in particular gigged a lil harder when LaRussell rapped, “go auntie, go auntie, go.” She got on stage, and sure enough, it was his actual auntie. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13920004","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it wasn’t just family in the building feeling themselves like yee—there were fans, longtime friends and more. \u003ca href=\"https://twitter.com/itsTOPE\" target=\"_blank\" rel=\"noopener noreferrer\">Tope\u003c/a>, the producer behind one of LaRussell’s 2021 albums, \u003cem>Cook Together, Eat Together\u003c/em>, came from Oregon for the show.\u003c/p>\n\u003cp>Two other artists who had big years were there, too. East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, who dropped \u003ci>K.E.L.L.S. Is Dead\u003c/i> in January, was in the back. Not too far from him stood \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, who dropped the album \u003ci>I Gotta Feel It\u003c/i> a few days into 2021. That project features the smash hit “Big Steppin’,” a song that’s \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" target=\"_blank\" rel=\"noopener noreferrer\">taken over the Bay Area this year\u003c/a>.\u003c/p>\n\u003cp>Between numerous guest appearances on other projects and dropping multiple videos, Ian Kelly found time to \u003ca href=\"https://www.youtube.com/watch?v=Ew72hosrGcc\" target=\"_blank\" rel=\"noopener noreferrer\">record a cold set of bars\u003c/a> with the Good Compenny crew earlier this year.\u003c/p>\n\u003cp>And with over 170 consecutive days of the #BigSteppinChallenge, filmed with folks from here to Hawaii, Stunnaman02 and LaRussell found time to take a bike ride and record \u003ca href=\"https://twitter.com/LaRussellGC/status/1428161363138863114?s=20\">some music\u003c/a> as well.\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/6-27_FP-pLU'\n title='//www.youtube.com/embed/6-27_FP-pLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the food LaRussell’s pop cooked to the way artists and community were cooking together, I saw what was going on. There’s a culture of mutual support naturally brewing here.\u003c/p>\n\u003cp>“You can’t tell who I don’t know at my shows,” LaRussell tells me during a phone call earlier this month. “I’m hugging everybody and chopping it up with everybody, you feel me?” He says even folks who are new to the fold get a taste of that love. “I feel like a lot of my fans ain’t fans,” LaRussell tells me. “It’s very internal, especially how I navigate and run my career. I’m so accessible.”\u003c/p>\n\u003cp>But the success is putting him and his family in circles that most people never access. He tells me about his mom meeting Too $hort and his pops meeting L.A. Reid, as well as taking the crew and family along with him on his trip to New York for the Breakfast Club appearance. “It’s becoming our new norm,” he says. “The norm that you never expected to happen.”\u003c/p>\n\u003cp>The key to not getting overwhelmed by this success, he says, is “fucking with the energy and moving accordingly.” LaRussell says that when things first started taking off, he was overwhelmed, jumping at everything. Now he’s taking time and running his own plays. And his latest play is a rare one.\u003c/p>\n\u003cfigure id=\"attachment_13906733\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DSC01906-800x535.jpg\" alt=\"LaRussell performing at The New Parish in Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at The New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s selling shares of his catalog to people to help them build wealth as he grows as an artist. “When I make a song, there’s a 100% revenue being made,” says LaRussell, an independent artist. “I’m like fuck it, I don’t even need to make \u003ci>this\u003c/i>\u003cem> much\u003c/em>. So, let me give some to the (people) who support my music and stream it.”\u003c/p>\n\u003cp>He breaks it down like this: Imagine if you would’ve invested in Jay-Z’s music in the ’90s, and now he’s Shawn Carter. Boom, you win at life.\u003c/p>\n\u003cp>And then LaRussell introduces me to the idea of “one billion stream songs,” tracks of his like “Do That Lil Dance You Be Doing’,” that could very likely one day see a million, or even a billion streams. “Just 1% of that song can change your life,” says LaRussell.\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/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s selling shares for $250-$1,000. He’s adamant about it being for fans, saying that he’s been contacted by investment firms and he’s given then a firm “no.”\u003c/p>\n\u003cp>He’s had to deal with some naysayers, but that comes with being innovative. And the system isn’t new. He says he’s been dividing dividends with his own team and they’ve had no issues. “It’s only an issue when (potential investors) come in with malicious intent,” says LaRussell, noting that he personally sources the offers.\u003c/p>\n\u003cp>“I talk to these people. I’m telling them what this is. This isn’t a get-rich-quick investment. Don’t give me no money if you don’t love my music and want to support me,” LaRussell tells me. “This is about building community wealth. In the span of my career, I’m probably going to change the lives of thousands of people, you know?”\u003c/p>\n\u003cp>There he is, standing at home plate, pointing even further into the distance and calling his shot once again.\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/ohbFe8JsAh0'\n title='//www.youtube.com/embed/ohbFe8JsAh0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>aRussell tells me that the highlight of his 2021 campaign was easily the Breakfast Club appearance. It’s not just that he got to speak his piece on a major platform, but the fact that when he picked up his daughter from school a short while later, one of the kids recognized him from that appearance.\u003c/p>\n\u003cp>“You’re not really in the game until you do certain things,” LaRussell tells me, gearing up for another sports metaphor. “You’re not great in the league until you win a ring or get MVP. And Breakfast Club, for a nigga like me, from Vallejo, that was like my ring.”\u003c/p>\n\u003cp>Knowing that in a few weeks, the calendar will flip and it’ll be a new season, I ask the Croc-sporting lyricist: what’s next?\u003c/p>\n\u003cp>He answers with a question.\u003c/p>\n\u003cp>“What are all the things people accomplish in a year? How about a career? How many albums? Award shows? Platforms?” he asks, semi-rhetorically. His initial goal was to do all that within the next year. He thought about it, and now wants to do it in three months.\u003c/p>\n\u003cp>“I know, it’s one of those things that’s not really obtainable,” LaRussell says in a rare grounded tone. “But it’s like, when you shoot for that type of goal, you can only end up better.”\u003c/p>\n\u003cp>In other words: the 2022 season starts soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906706/the-year-larussell-called-his-shot","authors":["11491"],"categories":["arts_1","arts_69"],"tags":["arts_16311","arts_10342","arts_10278","arts_831","arts_6129","arts_13246","arts_1220","arts_12987","arts_16222","arts_3478","arts_3800"],"featImg":"arts_13906892","label":"source_arts_13906706"},"arts_13891732":{"type":"posts","id":"arts_13891732","meta":{"index":"posts_1716263798","site":"arts","id":"13891732","score":null,"sort":[1611683525000]},"parent":0,"labelTerm":{"site":"arts"},"blocks":[],"publishDate":1611683525,"format":"standard","title":"From Vallejo, an Intimate Video Series Putting On for the Bay","headTitle":"From Vallejo, an Intimate Video Series Putting On for the Bay | KQED","content":"\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WwXsgUdJJIg\u003c/p>\n\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p3jcRH34Vjk\u003c/p>\n\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n","stats":{"hasVideo":true,"hasChartOrMap":false,"hasAudio":false,"hasPolis":false,"wordCount":1388,"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"iframeSrcs":[],"paragraphCount":30},"modified":1705019586,"excerpt":"LaRussell's Good Compenny video series is a no-gimmicks view into the Bay Area's untapped talent. ","headData":{"twImgId":"","twTitle":"","ogTitle":"","ogImgId":"","twDescription":"","description":"LaRussell's Good Compenny video series is a no-gimmicks view into the Bay Area's untapped talent. ","title":"From Vallejo, an Intimate Video Series Putting On for the Bay | KQED","ogDescription":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"From Vallejo, an Intimate Video Series Putting On for the Bay","datePublished":"2021-01-26T09:52:05-08:00","dateModified":"2024-01-11T16:33:06-08:00","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"guestAuthors":[],"slug":"from-vallejo-an-intimate-video-series-putting-on-for-the-bay","status":"publish","templateType":"standard","featuredImageType":"standard","sticky":false,"path":"/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\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/WwXsgUdJJIg'\n title='//www.youtube.com/embed/WwXsgUdJJIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\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/p3jcRH34Vjk'\n title='//www.youtube.com/embed/p3jcRH34Vjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\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/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay","authors":["11491"],"categories":["arts_1","arts_74","arts_69"],"tags":["arts_1331","arts_10342","arts_10278","arts_831","arts_13246","arts_1496","arts_924","arts_974","arts_3800"],"featImg":"arts_13891734","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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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. 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