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"content": "\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ONRf7h3Mdk&t=1s\u003c/p>\n\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ob7vObnFUJc\u003c/p>\n\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921576']According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PivWY9wn5ps\u003c/p>\n\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>[aside postid='arts_13921777']In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\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/PivWY9wn5ps'\n title='//www.youtube.com/embed/PivWY9wn5ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Live Nation, a Company Behind Astroworld, Has a Long History of Safety Violations",
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"content": "\u003cp>Rapper Travis Scott was the most recognizable figure associated with Astroworld, the Houston music festival that \u003ca href=\"https://www.npr.org/2021/11/08/1053425095/astroworld-festival-travis-scott-concert\" target=\"_blank\" rel=\"noopener noreferrer\">ended in tragedy Friday\u003c/a> evening when eight people died and hundreds more were injured. Also among the event organizers, however, was the conglomerate Live Nation, the world’s largest live-events company—and one that has already been linked to hundreds of deaths and injuries in the past 15 years.\u003c/p>\n\u003cp>[aside postid='arts_13905983']Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>[aside postid='pop_84656']The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>[aside postid='arts_13905536']At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lawsuits Stream in Over the Deadly Tragedy at the Travis Scott Concert",
"headTitle": "Lawsuits Stream in Over the Deadly Tragedy at the Travis Scott Concert | KQED",
"content": "\u003cp>Houston’s Astroworld Festival is now considered one of the deadliest concerts in U.S. history.\u003c/p>\n\u003cp>Eight people are dead and many more injured after the crowd surged as the festival’s headliner, Travis Scott, performed Friday night. Scott launched his Astroworld Festival in 2018.\u003c/p>\n\u003cp>Houston Mayor Sylvester Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday \u003c/a>that, as far as he knew, the festival at NRG Park was the only time in about 40 years that such a large event in the city led to a loss of life.\u003c/p>\n\u003cp>There’s been “nothing of this magnitude,” Turner said during a press conference.\u003c/p>\n\u003cp>Police caution that the investigation into what went wrong during the show is still in the early stages. On Sunday, \u003ca href=\"https://twitter.com/houstonpolice/status/1457493713404444682\" target=\"_blank\" rel=\"noopener noreferrer\">officials with the Houston Police Department said \u003c/a>there was no new information to release but added that the investigation “remains very active.”\u003c/p>\n\u003cp>Over the weekend, details began to emerge about the moments before, during, and after the show that highlight possible failures of the festival’s organizers to keep the large crowd of about 50,000 under control.\u003c/p>\n\u003ch3>Victims range in age from 14 to 27 years old\u003c/h3>\n\u003cp>Authorities said they will officially release the names of the deceased later Monday, but family members have already begun confirming the identities of some of the victims.\u003c/p>\n\u003cp>Scott’s music appeals to a younger audience, and tragically, all of the victims were under the age of 30 and the youngest was just 14 years old.\u003c/p>\n\u003cp>Local reports say the youngest victim, John Hilgert, was a freshman at Memorial High School, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">according to ABC13.\u003c/a>\u003c/p>\n\u003cp>“Our hearts go out to the student’s family and to his friends and our staff at Memorial,” MHS Principal Lisa Weir wrote in a letter to parents, according to the news station. “This is a terrible loss, and the entire MHS family is grieving today.”\u003c/p>\n\u003cp>Another young victim, Brianna Rodriguez, was 16 years old, her family told \u003ca href=\"https://people.com/music/teenage-astroworld-festival-victims-identified-travis-scott-houston/?utm_campaign=peoplemagazine&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=61873144bcfcb300016a5cf9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>People \u003c/em>magazine\u003c/a>. Her family shared on their GoFundMe page that she loved to dance. “Dancing was her passion and now she’s dancing her way to heaven’s pearly gates,” the page read.\u003c/p>\n\u003cp>Other \u003ca href=\"https://www.npr.org/2021/11/07/1053407383/houston-astroworld-victims-profiles\" target=\"_blank\" rel=\"noopener noreferrer\">victims include\u003c/a>: Axel Acosta, a 21-year-old computer science major at Western Washington University; Franco Patiño, a 21-year-old student at the University of Dayton in Ohio; Rudy Peña, a student at Laredo College; Jacob Jurinek, 20, a junior at Southern Illinois University Carbondale; and 27-year-old Danish Baig.\u003c/p>\n\u003cp>GoFundMe launched a \u003ca href=\"https://urldefense.com/v3/__https:/www.gofundme.com/c/act/astroworld-festival-fundraisers__;!!Iwwt!HNvjytMQeW9RyVMP0X187yh06tpUVnHoZbfCj3EGLdk48hpxUNlAnp3MN-g%24\" target=\"_blank\" rel=\"noopener noreferrer\">centralized hub\u003c/a> identifying all verified fundraising pages created in response to the tragedy.\u003c/p>\n\u003cp>Authorities have not yet released specific causes of deaths of the victims. City officials and police cautioned the public not to rely on rumors spread online about the possible cause.\u003c/p>\n\u003cp>More than a dozen other fans are still in the hospital. Police said 25 people were transported to a nearby hospital Friday night. As of Saturday afternoon, 13 were still hospitalized—five of whom were under 18.\u003c/p>\n\u003ch3>Travis Scott is under fire, and people are suing\u003c/h3>\n\u003cp>At least three lawsuits have already been filed against Scott and other festival organizers, as member station \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">Houston Public Media\u003c/a> reported.\u003c/p>\n\u003cp>Some Astroworld attendees allege Scott saw people near the front of the stage passed out or otherwise unconscious. They believe he and other organizers should’ve stopped the show immediately.\u003c/p>\n\u003cp>Astroworld attendee Manuel Souza filed a lawsuit this weekend against Scott, Live Nation and ScoreMore—another concert organizer, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">according to Billboard. \u003c/a>He says he was injured and is seeking $1 million in damages.\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">Souza said in his lawsuit\u003c/a> that the incident was a “predictable and preventable tragedy” and that organizers didn’t do enough to plan and prevent what unfolded. He also pointed to prior shows of Scott’s in which the rapper allegedly encouraged fans to act out.\u003c/p>\n\u003cp>Scott was arrested\u003ca href=\"https://www.billboard.com/articles/news/6649543/travi-scott-was-arrested-after-encouraging-lollapalooza-crowd-to-jump\" target=\"_blank\" rel=\"noopener noreferrer\"> in 2015 \u003c/a>after telling his fans to jump the barricades during his Lollapalooza performance and \u003ca href=\"https://apnews.com/article/853726537b3a4849aa968ded4937ca40\" target=\"_blank\" rel=\"noopener noreferrer\">in 2017\u003c/a> for encouraging people to rush the stage at a performance in Arkansas.\u003c/p>\n\u003cp>Attorney Ben Crump \u003ca href=\"https://twitter.com/BenCrumpLaw/status/1457496804275195904/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">has filed a lawsuit\u003c/a> on behalf of 21-year-old attendee Noah Gutierrez. Crump says Gutierrez and others in the VIP section scrambled to try to lift people off the floor as they screamed for help.\u003c/p>\n\u003cp>“We are hearing horrific accounts of the terror and helplessness people experienced—the horror of a crushing crowd and the awful trauma of watching people die while trying unsuccessfully to save them,” Crump said as he announced the suit. He also urged more people affected by the tragedy to contact his office.\u003c/p>\n\u003cp>The brother of victim Danish Baig, who was killed during the crowd rush, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">told ABC13\u003c/a> that the family plans to hire an attorney.\u003c/p>\n\u003cp>Basil Baig told the news station that the family hadn’t heard from Scott or other event organizers.\u003c/p>\n\u003cp>“Travis Scott and his team and everyone associated in the event should and will be held responsible,” Baig told ABC13. “He [didn’t] stop the show even with people chanting to stop the show. He allowed it. This was a bloodbath and all of it is on his hands.”\u003c/p>\n\u003cp>Scott, whose real name is Jacques Webster, is a Grammy-nominated rapper and Houston native.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/trvisXX/status/1457018948109705217\">In a public statement\u003c/a> shared on Twitter, Scott said, “My prayers go out to the families and all those impacted by what happened at Astroworld Festival. I am committed to working together with the Houston community to heal and support the families in need.”\u003c/p>\n\u003cp>He also released videos to his Instagram account in which he appears distraught.\u003c/p>\n\u003cp>“I just want to send out prayers to the ones that were lost last night,” Scott said Saturday. “My fans really mean the world to me.”\u003c/p>\n\u003cp>He went on to urge people who know anything about what might’ve happened Friday night to contact authorities.\u003c/p>\n\u003ch3>Reports say the show went on for nearly 40 minutes while the emergency unfolded\u003c/h3>\n\u003cp>Before the concert even started on Friday, the festival appeared to get off to a rough start. \u003ca href=\"https://www.youtube.com/watch?v=9W_njKnR6Q0\" target=\"_blank\" rel=\"noopener noreferrer\">Videos posted by a local news channel \u003c/a>show large crowds of people rushing through collapsed gates to get into the concert.\u003c/p>\n\u003cp>No security guards were seen responding for over a minute, even as people, who can be heard screaming, became stuck underneath the crowd pushing to get in. Police arrived on horseback to the gate shortly after.\u003c/p>\n\u003cp>[aside postid='arts_13906011']As Scott’s set started, the crowd allegedly became chaotic. \u003ca href=\"https://twitter.com/seannafaithh/status/1456880672606498817\" target=\"_blank\" rel=\"noopener noreferrer\">One firsthand account shared on social media\u003c/a> describe an intense crush toward the stage, with no room for concertgoers to breathe or properly move. People started to collapse after several minutes of this.\u003c/p>\n\u003cp>Concertgoers say they attempted to get the attention of security and other staff at the show to help people having difficulty breathing or who collapsed.\u003c/p>\n\u003cp>Mayor Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday afternoon \u003c/a>that the city’s police and firefighters responded quickly to emergency calls at the show. Officials were already stationed at NRG Park to provide security.\u003c/p>\n\u003cp>There are conflicting details regarding the timeline of events and when officials started to respond on scene and when Scott stopped performing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/houston/article/For-37-minutes-after-officials-declared-a-mass-16598473.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Houston Chronicle\u003c/em> reported\u003c/a> that police have said the concert’s promoter, Live Nation, agreed at 9:38 p.m. to cut the show shortly after multiple people were reported to have collapsed.\u003c/p>\n\u003cp>But for 37 minutes after the city’s police and firefighters responded to the concert grounds for a “mass casualty” event, Scott continued to play his entire set, ending at around 10:15 p.m., according to the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Turner, however, repeatedly said Saturday that “everything stopped” at 10:10 p.m.\u003c/p>\n\u003cp>Videos and pictures shared on social media show two people attempting to get the attention of cameramen who were standing on a raised platform. \u003ca href=\"https://twitter.com/LDCMOA/status/1456883559810142208\" target=\"_blank\" rel=\"noopener noreferrer\">In at least one video, \u003c/a>the two people can be seen yelling at the cameramen to stop the show and pointing to the crowd.\u003c/p>\n\u003cp>City officials said their investigation will likely take some time as the festival’s organizers, performers, and audience members are interviewed and a collection of videos and pictures taken that night are reviewed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>[ad fullwidth]\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Houston’s Astroworld Festival is now considered one of the deadliest concerts in U.S. history.\u003c/p>\n\u003cp>Eight people are dead and many more injured after the crowd surged as the festival’s headliner, Travis Scott, performed Friday night. Scott launched his Astroworld Festival in 2018.\u003c/p>\n\u003cp>Houston Mayor Sylvester Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday \u003c/a>that, as far as he knew, the festival at NRG Park was the only time in about 40 years that such a large event in the city led to a loss of life.\u003c/p>\n\u003cp>There’s been “nothing of this magnitude,” Turner said during a press conference.\u003c/p>\n\u003cp>Police caution that the investigation into what went wrong during the show is still in the early stages. On Sunday, \u003ca href=\"https://twitter.com/houstonpolice/status/1457493713404444682\" target=\"_blank\" rel=\"noopener noreferrer\">officials with the Houston Police Department said \u003c/a>there was no new information to release but added that the investigation “remains very active.”\u003c/p>\n\u003cp>Over the weekend, details began to emerge about the moments before, during, and after the show that highlight possible failures of the festival’s organizers to keep the large crowd of about 50,000 under control.\u003c/p>\n\u003ch3>Victims range in age from 14 to 27 years old\u003c/h3>\n\u003cp>Authorities said they will officially release the names of the deceased later Monday, but family members have already begun confirming the identities of some of the victims.\u003c/p>\n\u003cp>Scott’s music appeals to a younger audience, and tragically, all of the victims were under the age of 30 and the youngest was just 14 years old.\u003c/p>\n\u003cp>Local reports say the youngest victim, John Hilgert, was a freshman at Memorial High School, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">according to ABC13.\u003c/a>\u003c/p>\n\u003cp>“Our hearts go out to the student’s family and to his friends and our staff at Memorial,” MHS Principal Lisa Weir wrote in a letter to parents, according to the news station. “This is a terrible loss, and the entire MHS family is grieving today.”\u003c/p>\n\u003cp>Another young victim, Brianna Rodriguez, was 16 years old, her family told \u003ca href=\"https://people.com/music/teenage-astroworld-festival-victims-identified-travis-scott-houston/?utm_campaign=peoplemagazine&utm_content=new&utm_medium=social&utm_source=twitter.com&utm_term=61873144bcfcb300016a5cf9\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>People \u003c/em>magazine\u003c/a>. Her family shared on their GoFundMe page that she loved to dance. “Dancing was her passion and now she’s dancing her way to heaven’s pearly gates,” the page read.\u003c/p>\n\u003cp>Other \u003ca href=\"https://www.npr.org/2021/11/07/1053407383/houston-astroworld-victims-profiles\" target=\"_blank\" rel=\"noopener noreferrer\">victims include\u003c/a>: Axel Acosta, a 21-year-old computer science major at Western Washington University; Franco Patiño, a 21-year-old student at the University of Dayton in Ohio; Rudy Peña, a student at Laredo College; Jacob Jurinek, 20, a junior at Southern Illinois University Carbondale; and 27-year-old Danish Baig.\u003c/p>\n\u003cp>GoFundMe launched a \u003ca href=\"https://urldefense.com/v3/__https:/www.gofundme.com/c/act/astroworld-festival-fundraisers__;!!Iwwt!HNvjytMQeW9RyVMP0X187yh06tpUVnHoZbfCj3EGLdk48hpxUNlAnp3MN-g%24\" target=\"_blank\" rel=\"noopener noreferrer\">centralized hub\u003c/a> identifying all verified fundraising pages created in response to the tragedy.\u003c/p>\n\u003cp>Authorities have not yet released specific causes of deaths of the victims. City officials and police cautioned the public not to rely on rumors spread online about the possible cause.\u003c/p>\n\u003cp>More than a dozen other fans are still in the hospital. Police said 25 people were transported to a nearby hospital Friday night. As of Saturday afternoon, 13 were still hospitalized—five of whom were under 18.\u003c/p>\n\u003ch3>Travis Scott is under fire, and people are suing\u003c/h3>\n\u003cp>At least three lawsuits have already been filed against Scott and other festival organizers, as member station \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">Houston Public Media\u003c/a> reported.\u003c/p>\n\u003cp>Some Astroworld attendees allege Scott saw people near the front of the stage passed out or otherwise unconscious. They believe he and other organizers should’ve stopped the show immediately.\u003c/p>\n\u003cp>Astroworld attendee Manuel Souza filed a lawsuit this weekend against Scott, Live Nation and ScoreMore—another concert organizer, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">according to Billboard. \u003c/a>He says he was injured and is seeking $1 million in damages.\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9656473/travis-scott-astroworld-live-nation-lawsuit-victim-lawsuit/?utm_medium=social\" target=\"_blank\" rel=\"noopener noreferrer\">Souza said in his lawsuit\u003c/a> that the incident was a “predictable and preventable tragedy” and that organizers didn’t do enough to plan and prevent what unfolded. He also pointed to prior shows of Scott’s in which the rapper allegedly encouraged fans to act out.\u003c/p>\n\u003cp>Scott was arrested\u003ca href=\"https://www.billboard.com/articles/news/6649543/travi-scott-was-arrested-after-encouraging-lollapalooza-crowd-to-jump\" target=\"_blank\" rel=\"noopener noreferrer\"> in 2015 \u003c/a>after telling his fans to jump the barricades during his Lollapalooza performance and \u003ca href=\"https://apnews.com/article/853726537b3a4849aa968ded4937ca40\" target=\"_blank\" rel=\"noopener noreferrer\">in 2017\u003c/a> for encouraging people to rush the stage at a performance in Arkansas.\u003c/p>\n\u003cp>Attorney Ben Crump \u003ca href=\"https://twitter.com/BenCrumpLaw/status/1457496804275195904/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">has filed a lawsuit\u003c/a> on behalf of 21-year-old attendee Noah Gutierrez. Crump says Gutierrez and others in the VIP section scrambled to try to lift people off the floor as they screamed for help.\u003c/p>\n\u003cp>“We are hearing horrific accounts of the terror and helplessness people experienced—the horror of a crushing crowd and the awful trauma of watching people die while trying unsuccessfully to save them,” Crump said as he announced the suit. He also urged more people affected by the tragedy to contact his office.\u003c/p>\n\u003cp>The brother of victim Danish Baig, who was killed during the crowd rush, \u003ca href=\"https://abc13.com/astroworld-htx-deaths-drianna-rodrigues-franco-patino-danish-baig/11207939/\" target=\"_blank\" rel=\"noopener noreferrer\">told ABC13\u003c/a> that the family plans to hire an attorney.\u003c/p>\n\u003cp>Basil Baig told the news station that the family hadn’t heard from Scott or other event organizers.\u003c/p>\n\u003cp>“Travis Scott and his team and everyone associated in the event should and will be held responsible,” Baig told ABC13. “He [didn’t] stop the show even with people chanting to stop the show. He allowed it. This was a bloodbath and all of it is on his hands.”\u003c/p>\n\u003cp>Scott, whose real name is Jacques Webster, is a Grammy-nominated rapper and Houston native.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/trvisXX/status/1457018948109705217\">In a public statement\u003c/a> shared on Twitter, Scott said, “My prayers go out to the families and all those impacted by what happened at Astroworld Festival. I am committed to working together with the Houston community to heal and support the families in need.”\u003c/p>\n\u003cp>He also released videos to his Instagram account in which he appears distraught.\u003c/p>\n\u003cp>“I just want to send out prayers to the ones that were lost last night,” Scott said Saturday. “My fans really mean the world to me.”\u003c/p>\n\u003cp>He went on to urge people who know anything about what might’ve happened Friday night to contact authorities.\u003c/p>\n\u003ch3>Reports say the show went on for nearly 40 minutes while the emergency unfolded\u003c/h3>\n\u003cp>Before the concert even started on Friday, the festival appeared to get off to a rough start. \u003ca href=\"https://www.youtube.com/watch?v=9W_njKnR6Q0\" target=\"_blank\" rel=\"noopener noreferrer\">Videos posted by a local news channel \u003c/a>show large crowds of people rushing through collapsed gates to get into the concert.\u003c/p>\n\u003cp>No security guards were seen responding for over a minute, even as people, who can be heard screaming, became stuck underneath the crowd pushing to get in. Police arrived on horseback to the gate shortly after.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Scott’s set started, the crowd allegedly became chaotic. \u003ca href=\"https://twitter.com/seannafaithh/status/1456880672606498817\" target=\"_blank\" rel=\"noopener noreferrer\">One firsthand account shared on social media\u003c/a> describe an intense crush toward the stage, with no room for concertgoers to breathe or properly move. People started to collapse after several minutes of this.\u003c/p>\n\u003cp>Concertgoers say they attempted to get the attention of security and other staff at the show to help people having difficulty breathing or who collapsed.\u003c/p>\n\u003cp>Mayor Turner \u003ca href=\"https://www.facebook.com/Houstonpolice/videos/1085660318641278/\" target=\"_blank\" rel=\"noopener noreferrer\">said Saturday afternoon \u003c/a>that the city’s police and firefighters responded quickly to emergency calls at the show. Officials were already stationed at NRG Park to provide security.\u003c/p>\n\u003cp>There are conflicting details regarding the timeline of events and when officials started to respond on scene and when Scott stopped performing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/houston/article/For-37-minutes-after-officials-declared-a-mass-16598473.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Houston Chronicle\u003c/em> reported\u003c/a> that police have said the concert’s promoter, Live Nation, agreed at 9:38 p.m. to cut the show shortly after multiple people were reported to have collapsed.\u003c/p>\n\u003cp>But for 37 minutes after the city’s police and firefighters responded to the concert grounds for a “mass casualty” event, Scott continued to play his entire set, ending at around 10:15 p.m., according to the \u003cem>Chronicle\u003c/em>.\u003c/p>\n\u003cp>Turner, however, repeatedly said Saturday that “everything stopped” at 10:10 p.m.\u003c/p>\n\u003cp>Videos and pictures shared on social media show two people attempting to get the attention of cameramen who were standing on a raised platform. \u003ca href=\"https://twitter.com/LDCMOA/status/1456883559810142208\" target=\"_blank\" rel=\"noopener noreferrer\">In at least one video, \u003c/a>the two people can be seen yelling at the cameramen to stop the show and pointing to the crowd.\u003c/p>\n\u003cp>City officials said their investigation will likely take some time as the festival’s organizers, performers, and audience members are interviewed and a collection of videos and pictures taken that night are reviewed.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\u003c/p>\u003c/div>",
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"title": "McDonald's Launches a Saweetie Celebrity Meal",
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"content": "\u003cp>Watch out folks: This summer may just be getting a little bit \u003cem>icy\u003c/em>.\u003c/p>\n\u003cp>Multi-platinum rapper Saweetie, who rose to fame with her hit single “Icy Girl,” is teaming up with McDonald’s to bring a little twist to her favorite menu order for her fans. Starting this week, customers across the United States can order “The Saweetie Meal,” featuring a few of the fast-food chain’s signature items—and a “Saweetie ‘N Sour” sauce.\u003c/p>\n\u003cp>https://twitter.com/Saweetie/status/1424809356063764482\u003c/p>\n\u003cp>“McDonald’s and I run deep—from growing up back in Hayward, California, all through my college days—so I had to bring my icy gang in on my all-time favorites,” Saweetie, whose real name is Diamonté Harper, said\u003ca href=\"https://www.prnewswire.com/news-releases/saweetie-taps-in-for-a-new-collab-with-mcdonalds-usa-unveiling-her-signature-order-301343969.html\" target=\"_blank\" rel=\"noopener noreferrer\"> in a news release\u003c/a>.\u003c/p>\n\u003cp>The company’s partnership with the rapper is just the latest example of major brands, from Adidas to Cadillac, reaching out to diverse consumers, as the nation continues to recover from the racial turmoil following George Floyd’s murder last summer.\u003c/p>\n\u003ch3>Saweetie’s promotion joins a variety of diverse artists\u003c/h3>\n\u003cp>Saweetie marks the first female musician, and the first African-American female musician, to have a celebrity menu collaboration with McDonald’s since the company kicked off its \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.alistair-btsmeal.html\" target=\"_blank\" rel=\"noopener noreferrer\">Famous Orders program in 2020\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Previous limited-time meals introduced by the company featured a wide variety of celebrities, including last September’s meal with rapper \u003ca href=\"https://www.npr.org/2020/09/17/913880991/mcdonalds-runs-low-on-ingredients-for-travis-scott-quarter-pounder\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>, last October’s meal with reggaeton artist\u003ca href=\"https://www.npr.org/sections/altlatino/2018/05/24/613004703/j-balvin-wont-settle-for-anything-less-than-world-domination\" target=\"_blank\" rel=\"noopener noreferrer\"> J Balvin\u003c/a> and, most recently, this summer’s meal with the \u003ca href=\"https://www.npr.org/2021/05/27/1000786862/k-pop-group-bts-and-mcdonalds-launch-exclusive-meal-and-clothing-line\" target=\"_blank\" rel=\"noopener noreferrer\">South Korean pop band BTS\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881731']The celebrity-inspired meals have been a hit for the fast-food chain. McDonald’s President and CEO Chris Kempczinski hinted this month that more celebrity meals may be coming, according to \u003cem>\u003ca href=\"https://www.usatoday.com/story/money/food/2021/07/29/mcdonalds-saweetie-menu-meal-celebrity-famous-orders/5409895001/\" target=\"_blank\" rel=\"noopener noreferrer\">USA Today\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In May, McDonald’s announced \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.diverse-owned-media.html\">new investments in diverse-owned media \u003c/a>content for the company in an effort to further reflect its diverse customers, workers and communities in its marketing.\u003c/p>\n\u003cp>Over the next four years, the company says it will allocate advertising dollars to diverse-owned media companies, production houses and content creators. With Black-owned properties specifically, McDonald’s says its diverse-owned media partners will increase from 2% to 5% of the company’s national advertising spending over time.\u003c/p>\n\u003ch3>Representation of diversity is on the rise among major brands\u003c/h3>\n\u003cp>In the past year, many brands and companies have become noticeably more inclusive, featuring more Black and other minorities in their ads and marketing materials as a way to take a stand against racism.\u003c/p>\n\u003cp>Following George Floyd’s murder last May, companies across the globe began issuing various calls to action—including more diversity in advertising, increased spending on diverse companies and investing a greater amount of money in minority-owned media companies—in an effort to connect with Black and brown consumers.\u003c/p>\n\u003cp>“With the uprising and the advocacy and the demands after the murder of George Floyd, really there’s been a spotlight shining on the importance of highlighting and making space for Black people, specifically Black women,” said Alfredo Del Cid, head of learning and development at Collective, a diversity, equity and inclusion consulting firm.\u003c/p>\n\u003cp>A number of major brands have struck deals with major Black celebrities in an effort to maintain and expand their consumers of color.\u003c/p>\n\u003cp>Earlier this year, Uber Eats partnered with \u003ca href=\"https://adage.com/creativity/work/simone-biles-and-jonathan-van-ness-are-duo-you-never-realized-you-needed-uber-eats-matchup-ads/2288491\" target=\"_blank\" rel=\"noopener noreferrer\">Olympian Simone Biles\u003c/a>, featuring the star gymnast in its ads and TV commercials around the time of the Tokyo Olympics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6VKeiNjM-AM\u003c/p>\n\u003cp>\u003ca href=\"https://media.cadillac.com/media/us/en/cadillac/vehicles/ct4-v/2021.detail.html/content/Pages/news/us/en/2020/sep/0930-cadillac-technologies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac partnered with award-winning actress\u003c/a> Regina King, naming her a brand ambassador and the star for its campaign for the newest line of the Escalade SUV.\u003c/p>\n\u003cp>And \u003ca href=\"https://news.adidas.com/originals/ivy-park-rodeo--fourth-ivy-park-collection-with-beyonc-/s/2fc39fb5-18b9-45bb-a0de-045df1212125\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé partnered with Adidas\u003c/a> to launch her “Ivy Park” clothing collection.\u003c/p>\n\u003cp>“There’s all of these ways that these partnerships are coming together that influence the consumer—because the consumer is ultimately interested in trust, right?” said Christina Ferraz, founder and head consultant of marketing agency Thirty6five.\u003c/p>\n\u003cp>“That trust with the brand is what’s going to make them invest in the brand. When they see that that brand is doing what they want,” they said.\u003c/p>\n\u003ch3>In a social media world, brands are being held accountable\u003c/h3>\n\u003cp>So far in 2021, large brands are continuing their commitment to invest more of their budgets in minority-owned companies.\u003c/p>\n\u003cp>[aside postid='arts_13898881']General Motors \u003ca href=\"https://plants.gm.com/media/us/en/gm/home.detail.html/content/Pages/news/us/en/2021/apr/0423-gm.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced in April\u003c/a> significant changes to its model for partnering with diverse-owned and diverse-targeted media—allocating 2% of its ad spending in Black-owned media in 2021, and 4% in 2022, with a goal of reaching 8% by 2025.\u003c/p>\n\u003cp>And in June, Coca-Cola pledged to double its ad spending with minority-owned media, saying it will be five times higher in 2021 than a year earlier, \u003ca href=\"https://www.coca-colacompany.com/press-releases/minority-owned-media-spending\" target=\"_blank\" rel=\"noopener noreferrer\">according to a news release.\u003c/a>\u003c/p>\n\u003cp>Ferraz says that in the social-media era, companies and their reputations with diverse consumers are in increasingly intense spotlight.\u003c/p>\n\u003cp>“Brands now have to be held accountable in a way that they’ve never been held accountable before,” they said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>McDonald’s is among NPR’s financial supporters.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Brands+Reach+For+Diverse+Customers%2C+McDonald%27s+Launches+A+Saweetie+Celebrity+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“McDonald’s and I run deep—from growing up back in Hayward, California, all through my college days—so I had to bring my icy gang in on my all-time favorites,” Saweetie, whose real name is Diamonté Harper, said\u003ca href=\"https://www.prnewswire.com/news-releases/saweetie-taps-in-for-a-new-collab-with-mcdonalds-usa-unveiling-her-signature-order-301343969.html\" target=\"_blank\" rel=\"noopener noreferrer\"> in a news release\u003c/a>.\u003c/p>\n\u003cp>The company’s partnership with the rapper is just the latest example of major brands, from Adidas to Cadillac, reaching out to diverse consumers, as the nation continues to recover from the racial turmoil following George Floyd’s murder last summer.\u003c/p>\n\u003ch3>Saweetie’s promotion joins a variety of diverse artists\u003c/h3>\n\u003cp>Saweetie marks the first female musician, and the first African-American female musician, to have a celebrity menu collaboration with McDonald’s since the company kicked off its \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.alistair-btsmeal.html\" target=\"_blank\" rel=\"noopener noreferrer\">Famous Orders program in 2020\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The celebrity-inspired meals have been a hit for the fast-food chain. McDonald’s President and CEO Chris Kempczinski hinted this month that more celebrity meals may be coming, according to \u003cem>\u003ca href=\"https://www.usatoday.com/story/money/food/2021/07/29/mcdonalds-saweetie-menu-meal-celebrity-famous-orders/5409895001/\" target=\"_blank\" rel=\"noopener noreferrer\">USA Today\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In May, McDonald’s announced \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.diverse-owned-media.html\">new investments in diverse-owned media \u003c/a>content for the company in an effort to further reflect its diverse customers, workers and communities in its marketing.\u003c/p>\n\u003cp>Over the next four years, the company says it will allocate advertising dollars to diverse-owned media companies, production houses and content creators. With Black-owned properties specifically, McDonald’s says its diverse-owned media partners will increase from 2% to 5% of the company’s national advertising spending over time.\u003c/p>\n\u003ch3>Representation of diversity is on the rise among major brands\u003c/h3>\n\u003cp>In the past year, many brands and companies have become noticeably more inclusive, featuring more Black and other minorities in their ads and marketing materials as a way to take a stand against racism.\u003c/p>\n\u003cp>Following George Floyd’s murder last May, companies across the globe began issuing various calls to action—including more diversity in advertising, increased spending on diverse companies and investing a greater amount of money in minority-owned media companies—in an effort to connect with Black and brown consumers.\u003c/p>\n\u003cp>“With the uprising and the advocacy and the demands after the murder of George Floyd, really there’s been a spotlight shining on the importance of highlighting and making space for Black people, specifically Black women,” said Alfredo Del Cid, head of learning and development at Collective, a diversity, equity and inclusion consulting firm.\u003c/p>\n\u003cp>A number of major brands have struck deals with major Black celebrities in an effort to maintain and expand their consumers of color.\u003c/p>\n\u003cp>Earlier this year, Uber Eats partnered with \u003ca href=\"https://adage.com/creativity/work/simone-biles-and-jonathan-van-ness-are-duo-you-never-realized-you-needed-uber-eats-matchup-ads/2288491\" target=\"_blank\" rel=\"noopener noreferrer\">Olympian Simone Biles\u003c/a>, featuring the star gymnast in its ads and TV commercials around the time of the Tokyo Olympics.\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/6VKeiNjM-AM'\n title='//www.youtube.com/embed/6VKeiNjM-AM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://media.cadillac.com/media/us/en/cadillac/vehicles/ct4-v/2021.detail.html/content/Pages/news/us/en/2020/sep/0930-cadillac-technologies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac partnered with award-winning actress\u003c/a> Regina King, naming her a brand ambassador and the star for its campaign for the newest line of the Escalade SUV.\u003c/p>\n\u003cp>And \u003ca href=\"https://news.adidas.com/originals/ivy-park-rodeo--fourth-ivy-park-collection-with-beyonc-/s/2fc39fb5-18b9-45bb-a0de-045df1212125\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé partnered with Adidas\u003c/a> to launch her “Ivy Park” clothing collection.\u003c/p>\n\u003cp>“There’s all of these ways that these partnerships are coming together that influence the consumer—because the consumer is ultimately interested in trust, right?” said Christina Ferraz, founder and head consultant of marketing agency Thirty6five.\u003c/p>\n\u003cp>“That trust with the brand is what’s going to make them invest in the brand. When they see that that brand is doing what they want,” they said.\u003c/p>\n\u003ch3>In a social media world, brands are being held accountable\u003c/h3>\n\u003cp>So far in 2021, large brands are continuing their commitment to invest more of their budgets in minority-owned companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>General Motors \u003ca href=\"https://plants.gm.com/media/us/en/gm/home.detail.html/content/Pages/news/us/en/2021/apr/0423-gm.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced in April\u003c/a> significant changes to its model for partnering with diverse-owned and diverse-targeted media—allocating 2% of its ad spending in Black-owned media in 2021, and 4% in 2022, with a goal of reaching 8% by 2025.\u003c/p>\n\u003cp>And in June, Coca-Cola pledged to double its ad spending with minority-owned media, saying it will be five times higher in 2021 than a year earlier, \u003ca href=\"https://www.coca-colacompany.com/press-releases/minority-owned-media-spending\" target=\"_blank\" rel=\"noopener noreferrer\">according to a news release.\u003c/a>\u003c/p>\n\u003cp>Ferraz says that in the social-media era, companies and their reputations with diverse consumers are in increasingly intense spotlight.\u003c/p>\n\u003cp>“Brands now have to be held accountable in a way that they’ve never been held accountable before,” they said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>McDonald’s is among NPR’s financial supporters.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=As+Brands+Reach+For+Diverse+Customers%2C+McDonald%27s+Launches+A+Saweetie+Celebrity+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s one place where it’s still safe to mosh to music or wander through a crowded exhibition: your favorite video game. With arts spaces closed, concerts postponed and no one to dress up for, arts spaces, musicians and fashionistas are finding creative ways to stand out in the sea of livestreams and digital collections, by recreating venues—and the experiences they host—in video games. \u003c/p>\n\u003cp>More than 12 million Fortnite players tuned into rapper Travis Scott’s \u003ca href=\"https://pitchfork.com/thepitch/virtual-concerts-travis-scotts-fortnite-100-gecs-minecraft/\" rel=\"noopener noreferrer\" target=\"_blank\">virtual concert\u003c/a>, \u003ci>Astronomic\u003c/i> on April 23. That’s more than the total attendance of both U2 and Ed Sheerhan’s massively successful tours—at a time when Spotify, Amazon Music, and Apple Music have seen their on-demand streams \u003ca href=\"https://variety.com/2020/biz/news/music-streams-down-why-spotify-netflix-1203547387/\" rel=\"noopener noreferrer\" target=\"_blank\">fall by 7%\u003c/a>. The format was so successful Joe Biden is apparently considering \u003ca href=\"https://www.forbes.com/sites/paultassi/2020/05/11/fortnites-travis-scott-concert-cited-as-possible-path-for-virtual-joe-biden-campaign/#403e27393aee\" rel=\"noopener noreferrer\" target=\"_blank\">adopting it\u003c/a> for his presidential campaign.\u003c/p>\n\u003cp>https://youtu.be/g__AuDSfPkU\u003c/p>\n\u003cp>For 10 minutes, a giant Travis Scott teleported around the Fortnite map playing hits like “Sicko Mode” and “Goosebumps,” and debuting \u003ca href=\"https://www.rollingstone.com/music/music-news/rs-charts-top-100-travis-scott-kid-cudi-the-scotts-993562/\" rel=\"noopener noreferrer\" target=\"_blank\">a new song\u003c/a> with Kid Cudi that shot to number one on Rolling Stone’s weekly top 100 chart with over 32 million streams. (At number two, Megan Thee Stallion’s “Savage” has a little over half that number of streams, at 17.4 million.) Players had the option to download character skins—including one inspired by a \u003ca href=\"https://twitter.com/bigracks/status/930664984870379521\" rel=\"noopener noreferrer\" target=\"_blank\">viral tweet\u003c/a> from 2017—and, of course, buy some Fortnite Travis Scott \u003ca href=\"https://www.highsnobiety.com/p/travis-scott-fortnite-merch/\" rel=\"noopener noreferrer\" target=\"_blank\">merch\u003c/a>. \u003c/p>\n\u003cp>[aside postID='arts_13879036']If \u003ci>Astronomic\u003c/i> was a sold-out stadium show, then 100 gecs’ Square Garden Minecraft Festival was a packed warehouse for the extremely online. The electronic duo, who describe themselves as musical scavengers who “destroy the competition with their army of lethal bangers,” was joined by Charli XCX, Kero Kero Bonito and A. G. Cook, among others, for an “open pit Minecraft show” on April 24. The incredibly popular sandbox game is where players use blocks to create pixelated, 8-bit-looking structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>100 gecs’ Laura Les and Dylan Brady have long expressed their love for middle school dance hits like “Stanky Legg” and “Everytime We Touch,” so the game was the perfect venue for their over-the-top, 2000s-inspired aesthetic. Their chaotic electronic music and ironic internet references meshed with the low-fi block surroundings to create a cohesive, if intense, experience. \u003c/p>\n\u003cp>“I don’t know what Minecraft is,” Charli XCX said between songs. But the crowd went wild when she played a \u003ca href=\"https://soundcloud.com/tufosmashupss/crank-that-vroom-vroom\" rel=\"noopener noreferrer\" target=\"_blank\">mashup\u003c/a> of Soulja Boy’s “Crank Dat” and her own “Vroom Vroom.” For artists looking to create an immersive experience, it pays to partner with a video game whose audience plays well with their own.\u003c/p>\n\u003cfigure id=\"attachment_13880407\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"631\" class=\"size-full wp-image-13880407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot of the May 8 Open Pit-organized concert ‘AETH3R: A Minecraft benefit for Groundswell Fund.’ \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums and the fashion world have found that ideal partner in Animal Crossing, the social simulation game centered around customizing every aspect of a tropical island.\u003c/p>\n\u003cp>Unable to welcome visitors into their exhibitions IRL, museums have started bringing art into peoples’ homes. Speaking to the \u003cem>\u003ca href=\"https://www.nytimes.com/2020/03/30/arts/design/museums-coronavirus-adam-koszary.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/em>, the Royal Academy’s social media editor Adam Koszary explains, “A lot of people are going to fall into the trap of just trying to give people what they’d come to see in person on the screen.” \u003c/p>\n\u003cp>That’s where Animal Crossing comes in. Now, the Metropolitan Museum of Art’s entire collection is available to own and display in the game. Likewise, the Instagram account \u003ca href=\"https://www.instagram.com/animalcrossingfashionarchive/\" rel=\"noopener noreferrer\" target=\"_blank\">@AnimalCrossingFashionArchive\u003c/a> documents designer looks recreated for Animal Crossing avatars. What started as a small group of friends has led to partnerships with fashion houses like \u003ca href=\"https://www.instagram.com/p/B_sl6J9j9eD/\" rel=\"noopener noreferrer\" target=\"_blank\">Marc Jacobs\u003c/a> and Valentino. \u003c/p>\n\u003cp>https://www.instagram.com/p/B_nK9h5pMSQ/\u003c/p>\n\u003cp>If listening to music or looking at paintings online were a replacement for concerts or exhibits, music venues and museums would have closed a long time ago; physical spaces are crucial to facilitating the conversations and insights that help us appreciate and enjoy art. (One Square Garden attendant commented, “You just can’t replicate moshing and some girl getting her hair twisted on the button of your jean jacket.”) \u003c/p>\n\u003cp>But virtual concerts also open the doors for people who wouldn’t otherwise get to experience those events. The average price for a Travis Scott concert ticket is well over a hundred dollars—not something most casual listeners would drop for a show. Christian Nisperos, who attended \u003ci>Astronomic\u003c/i> as well as a few other virtual concerts since shelter in place started, typically doesn’t go to many shows in person. “One of the main drawbacks for me is cost,” he explains. “Many IRL concerts can get fairly expensive, but these virtual concerts have been free.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cultural experiences that once stood behind barriers—whether physical, financial or geographic—are now available to anyone with an internet connection. And while we’re all eagerly waiting for the next time we get to go see a show with our friends, more democratic access to art and music is a development well worth preserving.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s one place where it’s still safe to mosh to music or wander through a crowded exhibition: your favorite video game. With arts spaces closed, concerts postponed and no one to dress up for, arts spaces, musicians and fashionistas are finding creative ways to stand out in the sea of livestreams and digital collections, by recreating venues—and the experiences they host—in video games. \u003c/p>\n\u003cp>More than 12 million Fortnite players tuned into rapper Travis Scott’s \u003ca href=\"https://pitchfork.com/thepitch/virtual-concerts-travis-scotts-fortnite-100-gecs-minecraft/\" rel=\"noopener noreferrer\" target=\"_blank\">virtual concert\u003c/a>, \u003ci>Astronomic\u003c/i> on April 23. That’s more than the total attendance of both U2 and Ed Sheerhan’s massively successful tours—at a time when Spotify, Amazon Music, and Apple Music have seen their on-demand streams \u003ca href=\"https://variety.com/2020/biz/news/music-streams-down-why-spotify-netflix-1203547387/\" rel=\"noopener noreferrer\" target=\"_blank\">fall by 7%\u003c/a>. The format was so successful Joe Biden is apparently considering \u003ca href=\"https://www.forbes.com/sites/paultassi/2020/05/11/fortnites-travis-scott-concert-cited-as-possible-path-for-virtual-joe-biden-campaign/#403e27393aee\" rel=\"noopener noreferrer\" target=\"_blank\">adopting it\u003c/a> for his presidential campaign.\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/g__AuDSfPkU'\n title='//www.youtube.com/embed/g__AuDSfPkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For 10 minutes, a giant Travis Scott teleported around the Fortnite map playing hits like “Sicko Mode” and “Goosebumps,” and debuting \u003ca href=\"https://www.rollingstone.com/music/music-news/rs-charts-top-100-travis-scott-kid-cudi-the-scotts-993562/\" rel=\"noopener noreferrer\" target=\"_blank\">a new song\u003c/a> with Kid Cudi that shot to number one on Rolling Stone’s weekly top 100 chart with over 32 million streams. (At number two, Megan Thee Stallion’s “Savage” has a little over half that number of streams, at 17.4 million.) Players had the option to download character skins—including one inspired by a \u003ca href=\"https://twitter.com/bigracks/status/930664984870379521\" rel=\"noopener noreferrer\" target=\"_blank\">viral tweet\u003c/a> from 2017—and, of course, buy some Fortnite Travis Scott \u003ca href=\"https://www.highsnobiety.com/p/travis-scott-fortnite-merch/\" rel=\"noopener noreferrer\" target=\"_blank\">merch\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003ci>Astronomic\u003c/i> was a sold-out stadium show, then 100 gecs’ Square Garden Minecraft Festival was a packed warehouse for the extremely online. The electronic duo, who describe themselves as musical scavengers who “destroy the competition with their army of lethal bangers,” was joined by Charli XCX, Kero Kero Bonito and A. G. Cook, among others, for an “open pit Minecraft show” on April 24. The incredibly popular sandbox game is where players use blocks to create pixelated, 8-bit-looking structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>100 gecs’ Laura Les and Dylan Brady have long expressed their love for middle school dance hits like “Stanky Legg” and “Everytime We Touch,” so the game was the perfect venue for their over-the-top, 2000s-inspired aesthetic. Their chaotic electronic music and ironic internet references meshed with the low-fi block surroundings to create a cohesive, if intense, experience. \u003c/p>\n\u003cp>“I don’t know what Minecraft is,” Charli XCX said between songs. But the crowd went wild when she played a \u003ca href=\"https://soundcloud.com/tufosmashupss/crank-that-vroom-vroom\" rel=\"noopener noreferrer\" target=\"_blank\">mashup\u003c/a> of Soulja Boy’s “Crank Dat” and her own “Vroom Vroom.” For artists looking to create an immersive experience, it pays to partner with a video game whose audience plays well with their own.\u003c/p>\n\u003cfigure id=\"attachment_13880407\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg\" alt=\"\" width=\"1200\" height=\"631\" class=\"size-full wp-image-13880407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Open-Pit-1_1200-1020x536.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot of the May 8 Open Pit-organized concert ‘AETH3R: A Minecraft benefit for Groundswell Fund.’ \u003ccite>(Jasmine Garnett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museums and the fashion world have found that ideal partner in Animal Crossing, the social simulation game centered around customizing every aspect of a tropical island.\u003c/p>\n\u003cp>Unable to welcome visitors into their exhibitions IRL, museums have started bringing art into peoples’ homes. Speaking to the \u003cem>\u003ca href=\"https://www.nytimes.com/2020/03/30/arts/design/museums-coronavirus-adam-koszary.html\" rel=\"noopener noreferrer\" target=\"_blank\">New York Times\u003c/a>\u003c/em>, the Royal Academy’s social media editor Adam Koszary explains, “A lot of people are going to fall into the trap of just trying to give people what they’d come to see in person on the screen.” \u003c/p>\n\u003cp>That’s where Animal Crossing comes in. Now, the Metropolitan Museum of Art’s entire collection is available to own and display in the game. Likewise, the Instagram account \u003ca href=\"https://www.instagram.com/animalcrossingfashionarchive/\" rel=\"noopener noreferrer\" target=\"_blank\">@AnimalCrossingFashionArchive\u003c/a> documents designer looks recreated for Animal Crossing avatars. What started as a small group of friends has led to partnerships with fashion houses like \u003ca href=\"https://www.instagram.com/p/B_sl6J9j9eD/\" rel=\"noopener noreferrer\" target=\"_blank\">Marc Jacobs\u003c/a> and Valentino. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If listening to music or looking at paintings online were a replacement for concerts or exhibits, music venues and museums would have closed a long time ago; physical spaces are crucial to facilitating the conversations and insights that help us appreciate and enjoy art. (One Square Garden attendant commented, “You just can’t replicate moshing and some girl getting her hair twisted on the button of your jean jacket.”) \u003c/p>\n\u003cp>But virtual concerts also open the doors for people who wouldn’t otherwise get to experience those events. The average price for a Travis Scott concert ticket is well over a hundred dollars—not something most casual listeners would drop for a show. Christian Nisperos, who attended \u003ci>Astronomic\u003c/i> as well as a few other virtual concerts since shelter in place started, typically doesn’t go to many shows in person. “One of the main drawbacks for me is cost,” he explains. “Many IRL concerts can get fairly expensive, but these virtual concerts have been free.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cultural experiences that once stood behind barriers—whether physical, financial or geographic—are now available to anyone with an internet connection. And while we’re all eagerly waiting for the next time we get to go see a show with our friends, more democratic access to art and music is a development well worth preserving.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars",
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"content": "\u003cp>On Sept. 15–16 at Oakland’s Coliseum grounds, a poster of P-Lo, the hyphy heartthrob, greeted Rolling Loud’s thousands of attendees as they entered the venue to witness an intergenerational lineup of Bay Area rappers and industry heavyweights like Travis Scott and Pusha T.\u003c/p>\n\u003cp>“The Bay is very important to the history of hip-hop,” Tariq Cherif, co-founder of Rolling Loud, told KQED Arts. “You know, a lot of the modern independent hip-hop scene was built and modeled after what guys in the Bay were doing.”\u003c/p>\n\u003cp>Since its debut in 2015, Rolling Loud has become the world’s largest traveling hip-hop festival, with editions in Miami and Los Angeles. But in 2017, its inaugural Bay Area event at Shoreline Amphitheater didn’t go off without a hitch: beloved Berkeley rapper Lil B was physically assaulted, allegedly by another rapper’s entourage, and some Bay Area rap fans and promoters lambasted the event online as a result.\u003c/p>\n\u003cp>Rolling Loud 2018 in Oakland, however, took a different tone: the two-day festival celebrated and uplifted the Bay Area’s regional sounds, with high-energy performances by over a dozen Northern California artists, including E-40, Kamaiyah, Saweetie, P-Lo, Mozzy and ALLBLACK.\u003c/p>\n\u003cp>[contextly_sidebar id=”dHZsarkx1OlSZd4KoCbxjiyUAUy2DwXc”]\u003c/p>\n\u003cp>The critical mass of Bay Area and Sacramento artists kept the fest from feeling generic and gave it a distinctively local flavor. Without these acts, Rolling Loud Oakland would have blended in with the festival’s other editions, where Travis Scott, Young Thug and Jaden Smith have already performed. The crowd looked familiar, too: neon fanny packs, NBA jerseys and white-girl cornrows resembled Instagram in real life. And as it often happens at music festivals, many non-black concertgoers seemed to feel disconcertingly at ease saying the n-word as they rapped along with their favorite artists.\u003c/p>\n\u003cfigure id=\"attachment_13840951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840951\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0312-800x533.jpg\" alt=\"ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Rolling Loud’s Saturday kick-off, ALLBLACK didn’t let fans forget they were at a show in East Oakland, his home turf. He’s an emerging regional star on his way towards carrying Oakland’s sound beyond the 510. His set narrated his life experiences as a black man growing up in a neighborhood called the Murder Dubs, with an aggressive flow that blends the Town’s earlier music movements of mobb and hyphy into a forceful signature sound.[contextly_sidebar id=”CJzT37B5wN3POJuedBwhEnUML2PNFOi1″]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>P-Lo, fresh off of a national tour with Oakland-born chart-topper G-Eazy, performed an energetic homecoming set. His memorable line from his track “Put Me on Somethin’,” “Last year they ain’t even like the Bay,” served as a reminder of the Bay Area’s fight for recognition in the national music scene. After the hyphy movement, the Bay’s relationship to mainstream hip-hop weakened. But the recent rise of artists like G-Eazy, Kamaiyah and Saweetie, all of whom have major label deals, indicates a shift. Bay Area artists have long fought for a seat at the table, and the numerous local artists at Rolling Loud certainly felt like a step in that direction.\u003c/p>\n\u003cp>When G-Eazy joined P-Lo to perform their collaborative Bay Area anthem, “Power,” P-Lo shouted to the crowd, “You proud to be from the Bay… because I’m reppin proud Bay Area sh-t.” He and his DJ, Cal-A, tore up the crowd like only some boys from the Bay could, gigging in the audience as they closed their set. To the side of the stage, members of HBK Gang and ALLBLACK went dumb in solidarity.\u003c/p>\n\u003cp>Later, Saweetie and Guapdad 4000 performed an unreleased collaboration during the “Icy Girl” rapper’s set; the sense of community among the local artists was palpable. For a weekend, Bay Area rappers set aside differences and performed as a united front as the industry’s underdogs, holding their own among a roster of mainstream artists.\u003c/p>\n\u003cfigure id=\"attachment_13840924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0879-800x533.jpg\" alt=\"Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Rolling Loud featured a notable increase of female rappers, including Kamaiyah, the reigning queen of the Bay Area rap scene.“I f-cking made it in Oakland, we ain’t never seen anything like this before,” she said as she opened her set. She grew up not far from the Coliseum, on 73rd Avenue.\u003c/p>\n\u003cp>Mozzy’s set linked his hometown of Sacramento to the Bay; he brought out “Do Better” rapper Prezi, who reps San Francisco’s Hunters Point. North Oakland’s Mistah F.A.B, a crucial figure in the Bay Area rap scene, came out during Mozzy’s performance to show the crowd how to “Ghost Ride It” with his instructional hyphy-era anthem.\u003c/p>\n\u003cp>“Them Bay Area rappers is legendary to me, I got F.A.B. coming out on my set,” Mozzy told KQED Arts backstage. “Rappers ain’t show nothing but love and I’m appreciative to take the stage after so many that have came before me.”\u003c/p>\n\u003cfigure id=\"attachment_13840899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0296-800x533.jpg\" alt=\"G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40, godfather of Bay Area hip-hop, brought the spirit of the hyphy movement to Rolling Loud with “Tell Me When To Go.” As he spat the famous lines, “Jesus Christ had dreads / So shake ’em,” a new generation of Bay Area rappers, Kamaiyah and Slimmy B of SOB x RBE, watched in awe. When P-Lo and Nef The Pharaoh joined E-40 on stage to play “Bling Blaow” and “Put Me On Somethin’,” the joyful performance resembled a symbolic passing of the torch.[contextly_sidebar id=”Kx4Gqc1kCXqX2BJ2NuTXAqwsgKHdGca1″]\u003c/p>\n\u003cp>At Rolling Loud, Bay Area rappers proudly defined their space in a culture where their contributions have been historically ignored. The authentic sounds of the Bay transformed Rolling Loud, the world’s largest hip-hop festival, into a weekend in East Oakland where the region’s rap stars truly shone among a lineup of mainstream acts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Rolling Loud\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0188-800x533.jpg\" alt=\"Saweetie plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie plays Rolling Loud Bay Area in Oakland onSept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0486-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0272-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0330-800x533.jpg\" alt=\"Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0377-800x533.jpg\" alt=\"Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0438-800x533.jpg\" alt=\"Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0459-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0472-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0504-800x533.jpg\" alt=\"Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0531-800x533.jpg\" alt=\"Gucci Mane plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gucci Mane plays Rolling Loud Bay Area in Oakland on Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0633-800x533.jpg\" alt=\"Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1201-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1186-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1157-800x533.jpg\" alt=\"Rae Sremmurd play Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rae Sremmurd play Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1133-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1127-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1085-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1066-2-800x533.jpg\" alt=\"Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1021-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0969-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1002-800x533.jpg\" alt=\"P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0946-800x533.jpg\" alt=\"Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0929-800x533.jpg\" alt=\"Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840926\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0903-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0732-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0899-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0825-800x533.jpg\" alt=\"Kamaiyah backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0809-800x533.jpg\" alt=\"Chief Keef plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Keef plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0798-800x533.jpg\" alt=\"Slimmy B backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slimmy B backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0758-800x533.jpg\" alt=\"Berner plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berner plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0747-800x533.jpg\" alt=\"Prezi at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0748-800x533.jpg\" alt=\"Mistah F.A.B. at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0742-800x533.jpg\" alt=\"Marty Grimes at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty Grimes at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Locals like E-40, ALLBLACK, P-Lo and G-Eazy injected the traveling rap fest with a distinctly regional flavor. ",
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"description": "Locals like E-40, ALLBLACK, P-Lo and G-Eazy injected the traveling rap fest with a distinctly regional flavor. ",
"title": "At Rolling Loud, Bay Area Rappers Outshine Mainstream Stars | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sept. 15–16 at Oakland’s Coliseum grounds, a poster of P-Lo, the hyphy heartthrob, greeted Rolling Loud’s thousands of attendees as they entered the venue to witness an intergenerational lineup of Bay Area rappers and industry heavyweights like Travis Scott and Pusha T.\u003c/p>\n\u003cp>“The Bay is very important to the history of hip-hop,” Tariq Cherif, co-founder of Rolling Loud, told KQED Arts. “You know, a lot of the modern independent hip-hop scene was built and modeled after what guys in the Bay were doing.”\u003c/p>\n\u003cp>Since its debut in 2015, Rolling Loud has become the world’s largest traveling hip-hop festival, with editions in Miami and Los Angeles. But in 2017, its inaugural Bay Area event at Shoreline Amphitheater didn’t go off without a hitch: beloved Berkeley rapper Lil B was physically assaulted, allegedly by another rapper’s entourage, and some Bay Area rap fans and promoters lambasted the event online as a result.\u003c/p>\n\u003cp>Rolling Loud 2018 in Oakland, however, took a different tone: the two-day festival celebrated and uplifted the Bay Area’s regional sounds, with high-energy performances by over a dozen Northern California artists, including E-40, Kamaiyah, Saweetie, P-Lo, Mozzy and ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The critical mass of Bay Area and Sacramento artists kept the fest from feeling generic and gave it a distinctively local flavor. Without these acts, Rolling Loud Oakland would have blended in with the festival’s other editions, where Travis Scott, Young Thug and Jaden Smith have already performed. The crowd looked familiar, too: neon fanny packs, NBA jerseys and white-girl cornrows resembled Instagram in real life. And as it often happens at music festivals, many non-black concertgoers seemed to feel disconcertingly at ease saying the n-word as they rapped along with their favorite artists.\u003c/p>\n\u003cfigure id=\"attachment_13840951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840951\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0312-800x533.jpg\" alt=\"ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0312-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK backstage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Rolling Loud’s Saturday kick-off, ALLBLACK didn’t let fans forget they were at a show in East Oakland, his home turf. He’s an emerging regional star on his way towards carrying Oakland’s sound beyond the 510. His set narrated his life experiences as a black man growing up in a neighborhood called the Murder Dubs, with an aggressive flow that blends the Town’s earlier music movements of mobb and hyphy into a forceful signature sound.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>P-Lo, fresh off of a national tour with Oakland-born chart-topper G-Eazy, performed an energetic homecoming set. His memorable line from his track “Put Me on Somethin’,” “Last year they ain’t even like the Bay,” served as a reminder of the Bay Area’s fight for recognition in the national music scene. After the hyphy movement, the Bay’s relationship to mainstream hip-hop weakened. But the recent rise of artists like G-Eazy, Kamaiyah and Saweetie, all of whom have major label deals, indicates a shift. Bay Area artists have long fought for a seat at the table, and the numerous local artists at Rolling Loud certainly felt like a step in that direction.\u003c/p>\n\u003cp>When G-Eazy joined P-Lo to perform their collaborative Bay Area anthem, “Power,” P-Lo shouted to the crowd, “You proud to be from the Bay… because I’m reppin proud Bay Area sh-t.” He and his DJ, Cal-A, tore up the crowd like only some boys from the Bay could, gigging in the audience as they closed their set. To the side of the stage, members of HBK Gang and ALLBLACK went dumb in solidarity.\u003c/p>\n\u003cp>Later, Saweetie and Guapdad 4000 performed an unreleased collaboration during the “Icy Girl” rapper’s set; the sense of community among the local artists was palpable. For a weekend, Bay Area rappers set aside differences and performed as a united front as the industry’s underdogs, holding their own among a roster of mainstream artists.\u003c/p>\n\u003cfigure id=\"attachment_13840924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840924\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0879-800x533.jpg\" alt=\"Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0879-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s Rolling Loud featured a notable increase of female rappers, including Kamaiyah, the reigning queen of the Bay Area rap scene.“I f-cking made it in Oakland, we ain’t never seen anything like this before,” she said as she opened her set. She grew up not far from the Coliseum, on 73rd Avenue.\u003c/p>\n\u003cp>Mozzy’s set linked his hometown of Sacramento to the Bay; he brought out “Do Better” rapper Prezi, who reps San Francisco’s Hunters Point. North Oakland’s Mistah F.A.B, a crucial figure in the Bay Area rap scene, came out during Mozzy’s performance to show the crowd how to “Ghost Ride It” with his instructional hyphy-era anthem.\u003c/p>\n\u003cp>“Them Bay Area rappers is legendary to me, I got F.A.B. coming out on my set,” Mozzy told KQED Arts backstage. “Rappers ain’t show nothing but love and I’m appreciative to take the stage after so many that have came before me.”\u003c/p>\n\u003cfigure id=\"attachment_13840899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0296-800x533.jpg\" alt=\"G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0296-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy joins P-Lo on stage at Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40, godfather of Bay Area hip-hop, brought the spirit of the hyphy movement to Rolling Loud with “Tell Me When To Go.” As he spat the famous lines, “Jesus Christ had dreads / So shake ’em,” a new generation of Bay Area rappers, Kamaiyah and Slimmy B of SOB x RBE, watched in awe. When P-Lo and Nef The Pharaoh joined E-40 on stage to play “Bling Blaow” and “Put Me On Somethin’,” the joyful performance resembled a symbolic passing of the torch.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Rolling Loud, Bay Area rappers proudly defined their space in a culture where their contributions have been historically ignored. The authentic sounds of the Bay transformed Rolling Loud, the world’s largest hip-hop festival, into a weekend in East Oakland where the region’s rap stars truly shone among a lineup of mainstream acts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Rolling Loud\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840857\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840857\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0188-800x533.jpg\" alt=\"Saweetie plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0188-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie plays Rolling Loud Bay Area in Oakland onSept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0486-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0486-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0272-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0272-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0330-800x533.jpg\" alt=\"Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0330-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jaden Smith plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840873\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840873\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0377-800x533.jpg\" alt=\"Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0377-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pusha T plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0438-800x533.jpg\" alt=\"Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0438-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Playboi Carti plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840880\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840880\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0459-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0459-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840882\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840882\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0472-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0472-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0504-800x533.jpg\" alt=\"Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey BadA$$ plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840887\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840887\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0531-800x533.jpg\" alt=\"Gucci Mane plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gucci Mane plays Rolling Loud Bay Area in Oakland on Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0633-800x533.jpg\" alt=\"Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0633-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wiz Khalifa plays Rolling Loud Bay Area in Oakland on Saturday, Sept. 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840948\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840948\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1214-Edit-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840947\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840947\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1201-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1201-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1186-800x533.jpg\" alt=\"Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1186-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Travis Scott plays Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1157-800x533.jpg\" alt=\"Rae Sremmurd play Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1157-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rae Sremmurd play Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1133-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1133-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1127-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1127-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840939\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840939\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1085-800x533.jpg\" alt=\"Young Thug plays at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1085-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Thug plays at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840937\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840937\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1066-2-800x533.jpg\" alt=\"Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1066-2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1021-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1021-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0969-800x533.jpg\" alt=\"E-40 plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0969-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1002-800x533.jpg\" alt=\"P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1002-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo performs with E-40 at Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0946-800x533.jpg\" alt=\"Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famous Dex performs with Rich the Kid at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840928\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840928\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0929-800x533.jpg\" alt=\"Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0929-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rich the Kid plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840926\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0903-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0903-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0732-800x533.jpg\" alt=\"Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0732-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mozzy plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840925\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840925\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0899-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0899-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840921\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0825-800x533.jpg\" alt=\"Kamaiyah backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0825-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840920\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0809-800x533.jpg\" alt=\"Chief Keef plays Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chief Keef plays Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0798-800x533.jpg\" alt=\"Slimmy B backstage at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0798-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slimmy B backstage at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840917\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0758-800x533.jpg\" alt=\"Berner plays Rolling Loud Bay Area in Oakland on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0758-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berner plays Rolling Loud Bay Area in Oakland on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0747-800x533.jpg\" alt=\"Prezi at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0747-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0748-800x533.jpg\" alt=\"Mistah F.A.B. at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0748-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840913\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0742-800x533.jpg\" alt=\"Marty Grimes at Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marty Grimes at Rolling Loud Bay Area on Sunday, Sept. 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13840955/at-rolling-loud-bay-area-rappers-outshine-mainstream-stars",
"authors": [
"byline_arts_13840955"
],
"categories": [
"arts_69"
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