Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More
It's Still Raining Game in Northern California
At Outside Lands on Friday, LGBTQ Performers Steal the Show
On the Air: Cy And Jamedra’s Do List Picks for Feb. 16, 2018
Rapper Caleborate is Still a "Real Person" Despite his Success
Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A
Behind the Beats: JULiA LEWiS
The 10 Best Bay Area Albums of 2016: Caleborate, '1993'
Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan
Sponsored
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She holds a B.A. in comparative literature from UC Berkeley.","avatar":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twitter":"nananastia","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"podcasts","roles":["editor"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Nastia Voynovskaya | KQED","description":"Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g","twImgSrc":"https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=mm&r=g"},"isLoading":false,"link":"/author/nvoynovskaya"},"ogpenn":{"type":"authors","id":"11491","meta":{"index":"authors_1591205172","id":"11491","found":true},"name":"Pendarvis Harshaw","firstName":"Pendarvis","lastName":"Harshaw","slug":"ogpenn","email":"ogpenn@gmail.com","display_author_email":false,"staff_mastheads":["arts"],"title":"Columnist and Host, Rightnowish","bio":"Pendarvis Harshaw is the host of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em>\u003c/a> on KQED-FM, a columnist at KQED Arts, and the author of \u003ci>OG Told Me,\u003c/i> a memoir about growing up in Oakland.","avatar":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twitter":"ogpenn","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"bayareabites","roles":["author"]},{"site":"hiphop","roles":["editor"]}],"headData":{"title":"Pendarvis Harshaw | KQED","description":"Columnist and Host, Rightnowish","ogImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/093d33baff5354890e29ad83d58d2c49?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ogpenn"},"sgetachew":{"type":"authors","id":"11734","meta":{"index":"authors_1591205172","id":"11734","found":true},"name":"Samuel Getachew","firstName":"Samuel","lastName":"Getachew","slug":"sgetachew","email":"sgetachew@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"\u003cspan style=\"font-weight: 400;\">Samuel Getachew is an 18-year-old poet and writer from Oakland, California. He is the 2019 Oakland Youth Poet Laureate, a 2020 Finalist for National Youth Poet Laureate, and a 4-time YoungArts Winner. His writing has been published in Teen Vogue, the New York Times, the Washington Post, and more. He will attend Yale University in the fall of 2021.\u003c/span>","avatar":"https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]}],"headData":{"title":"Samuel Getachew | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ebad3dcf2295975cfe77698fa670a089?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/sgetachew"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13894963":{"type":"posts","id":"arts_13894963","meta":{"index":"posts_1591205157","site":"arts","id":"13894963","score":null,"sort":[1617310114000]},"guestAuthors":[],"slug":"pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more","title":"Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More","publishDate":1617310114,"format":"standard","headTitle":"Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/atq3PzImnWw\u003c/p>\n\u003ch2>Caleborate, “Homecoming”\u003c/h2>\n\u003cp>Four albums into his career, Berkeley rapper \u003ca href=\"https://www.caleborate.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Caleborate\u003c/a> has never sounded so accessible as on “Homecoming,” an expansive collaboration with Duckwrth, from his latest release \u003ci data-stringify-type=\"italic\">Light Hit My Skin\u003c/i>. Pushing beyond the J. Cole-Kanye West inspiration of \u003ca href=\"https://www.kqed.org/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan\" target=\"_blank\" rel=\"noopener noreferrer\">earlier efforts like \u003ci>1993\u003c/i>\u003c/a>, the track skitters over a pulsing, sci-fi beat as Caleborate plays the advocate for himself and others like him: “Shout out to the little homies always getting picked on, ’cause he talk a little different with a dark skin tone / Let me tell you where you belong: two feet strong on the White House lawn.” Throw in a philosophical verse and a chorus of liberation from Duckwrth, and you’ve got an obvious first song for DJs to play once we all get back to the club. \u003ci>—Gabe Meline\u003c/i>\u003c/p>\n\u003cp>https://youtu.be/kQihAil8-s0\u003c/p>\n\u003ch2>Bachelor, “Stay in the Car”\u003c/h2>\n\u003cp>In the video for “Stay in the Car,” Ellen Kempner (of Palehound) and Melina Duterte (of the East Bay’s \u003ca href=\"https://www.kqed.org/arts/11856250/jay-som-and-the-transformation-of-turn-into\" target=\"_blank\" rel=\"noopener noreferrer\">Jay Som\u003c/a>), newly collaborating as \u003ca href=\"https://www.instagram.com/bachelor_band/\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>, are dressed in thick layers and fluorescent green beanies; their breath condenses in front of them. And yet their song—the second single off \u003ci>Doomin’ Sun\u003c/i>, due out May 28—is golden and summery, with Pixies-like riffs that make the whole ride an incredibly joyful one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps that’s because the song was inspired by a chance encounter with a glamorous woman in a Florida parking lot. “I wanted to be a part of her life, her best friend, her driver, whatever she wanted me to be,” Kempner says. “I was completely mesmerized.”\u003c/p>\n\u003cp>“Stay in the Car” transports us into that stunned feeling, and the video by Haoyan of America builds a whole imagined world inside—of course—a car. Kempner and Duterte describe Bachelor as not a band, but a friendship, and with this song, it’s clear \u003ci>we’re\u003c/i> now the ones outside, hoping to join in. \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/XT3Xz8gbVdY\u003c/p>\n\u003ch2>Miko Marks, “Travel Light”\u003c/h2>\n\u003cp>Last week Oakland-based country artist \u003ca href=\"https://www.mikomarks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Miko Marks\u003c/a> dropped her first full album in over a dozen years, \u003cem>Our Country\u003c/em>. It features the song “Travel Light,” a slow, somber track that makes you want to find a sun setting into the horizon and walk into it.\u003c/p>\n\u003cp>The acoustic guitar riff leads listeners into the lyrics, “Sorry I did not make it building castles made of sand / in the end I could not take it, and I hoped you’d understand / Cause I can’t find the fire to stay here and fight / All that’s left is to run, so I travel light.” And then the heavy drum kicks.\u003c/p>\n\u003cp>The album, a collaboration with The Resurrectors, also features the protest song “Goodnight America,” the hymn “Not Be Moved” and a song that’ll make you feel like you’re in a juke joint, “Water to Wine.”\u003cbr>\nIt’s a true country album, with notes of blues and soul; a little something to listen to as the sun sets. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/ADsE_PrdKxQ\u003c/p>\n\u003ch2>Caroline Chung and Citizens Jazz, “Vitamin D”\u003c/h2>\n\u003cp>Sometimes a simple walk in the sunshine can help shake feelings of malaise, and \u003ca href=\"https://carolinechung.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Chung\u003c/a> and her collective Citizens Jazz remind us of just that on their new track “Vitamin D.” Chung, a bassist who was a prolific live performer pre-pandemic, has taken the past year to level up as a producer. For “Vitamin D,” the lead single of her new album \u003cem>Sounds of Haejin\u003c/em>, Danny Brown’s breezy saxophone licks float like iridescent soap bubbles above Chung’s steady bass, Andre Mateo’s sun-soaked guitar and Brandon’s charged-up drumming.\u003c/p>\n\u003cp>In her honeyed voice, singer Taqwa lulls us with the upbeat mantra, “Take a deep breath, slow down your thoughts / Follow the signs, connect the dots / Open your eyes, got off your bed / Let the sun shine / get out of your head.” It’s hard not to sing along after a few repeats.\u003c/p>\n\u003cp>But, in the most surprising artistic choice of the track, a poem by \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> cuts through the easy-listening atmosphere. In his trademark stream-of-consciousness delivery, Martin—who is San Francisco’s new poet laureate—rattles off a stark poem about survival in an unforgiving world. “There were hammers in my cradle, which made some people scared to check on me,” he begins. Tuning into the poem while grooving to this dreamy tune can be jarring, but it works. Ultimately, the track reminds us that it’s possible to find joy even amid the harshness of life. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1obPFsukLLQ\u003c/p>\n\u003ch2>Kai the Universe, “All Natural*” feat. Lil Mumba\u003c/h2>\n\u003cp>Oakland native and Howard University freshman \u003ca href=\"https://www.instagram.com/kai_the_universe/\" target=\"_blank\" rel=\"noopener noreferrer\">Kai the Universe\u003c/a> dropped the music video for his new track “All Natural*” featuring Jax the Band’s Lil Mumba last Saturday. Skating over the beat with his trademark breathy vocals, the video follows Kai as he weaves his way through a party and butterflies float across the screen. Editor Arya Damany creates a visual experience to match the song, with psychedelic effects and Kai the Universe’s signature pink and purple tones.\u003c/p>\n\u003cp>“I was on another level” sings Lil Mumba, opening his verse as the screen flashes and fireworks go off behind Kai. The effects remain until the last 30 seconds, when the music stops and the camera cuts between well-lit shots of seven women of color laughing and smiling. Telling its own story in tandem with the music, the video features cameos by Lil Mumba’s Jax the Band bandmates and friends of the two artists. \u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/lrBFwP99a6E\u003c/p>\n\u003ch2>Ruby Mountain, “Seeker”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.rubymountainmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Mountain\u003c/a> is the divine feminine embodied in her new music video for “Seeker,” a sensual track that shows off the rich timbre of her big, soulful voice. Dancing alone as the tides of the ocean lap at her skin, singing into a fire and grazing her body against 100-year-old redwoods, the singer belts over a slow clap and moody keys about the discovery process of falling in love. In the context of the visual, it’s as if the Earth itself is the lover she has in mind. With a mystical vibe suited for a candlelit evening, “Seeker” sets the mood to introspect. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umsClQ6jeAU\u003c/p>\n\u003ch2>Shanté, “I’d Rather Go Blind” (Etta James cover)\u003c/h2>\n\u003cp>When Oakland’s \u003ca href=\"https://smarturl.it/ShanteProtectionEP\" target=\"_blank\" rel=\"noopener noreferrer\">Shanté\u003c/a> stepped out of the booth after recording her version of “I’d Rather Go Blind,” the people in the studio knew she had something special. You can hear them praising her talents at the end of the track.\u003c/p>\n\u003cp>The video was posted on social media a few days ago, and has since been shared thousands of times, most notably by Mistah F.A.B., Kehlani and Snoop Dogg. That’s a pretty big deal for an 18-year-old artist who just dropped her debut solo project.\u003c/p>\n\u003cp>Her seven-song album, \u003cem>Protection\u003c/em>, features the vocals that set the internet ablaze, but this time singing her own tunes. From the sultry opening track “Deep End” to the uptempo groove “Party On Mars,” the young artist is carving her own path.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But before you jump into the album, you gotta—you just gotta—listen to her rendition of Etta James’ classic. Actually, do yourself a favor and watch the video. \u003cem>—P.H.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This week we’re playing Oakland country, a mystical track for seekers, punk-rap and more. ","status":"publish","parent":0,"modified":1705019233,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1394},"headData":{"title":"Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More | KQED","description":"This week we’re playing Oakland country, a mystical track for seekers, punk-rap and more. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More","datePublished":"2021-04-01T20:48:34.000Z","dateModified":"2024-01-12T00:27:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13894963/pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/atq3PzImnWw'\n title='//www.youtube.com/embed/atq3PzImnWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Caleborate, “Homecoming”\u003c/h2>\n\u003cp>Four albums into his career, Berkeley rapper \u003ca href=\"https://www.caleborate.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Caleborate\u003c/a> has never sounded so accessible as on “Homecoming,” an expansive collaboration with Duckwrth, from his latest release \u003ci data-stringify-type=\"italic\">Light Hit My Skin\u003c/i>. Pushing beyond the J. Cole-Kanye West inspiration of \u003ca href=\"https://www.kqed.org/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan\" target=\"_blank\" rel=\"noopener noreferrer\">earlier efforts like \u003ci>1993\u003c/i>\u003c/a>, the track skitters over a pulsing, sci-fi beat as Caleborate plays the advocate for himself and others like him: “Shout out to the little homies always getting picked on, ’cause he talk a little different with a dark skin tone / Let me tell you where you belong: two feet strong on the White House lawn.” Throw in a philosophical verse and a chorus of liberation from Duckwrth, and you’ve got an obvious first song for DJs to play once we all get back to the club. \u003ci>—Gabe Meline\u003c/i>\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/kQihAil8-s0'\n title='//www.youtube.com/embed/kQihAil8-s0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Bachelor, “Stay in the Car”\u003c/h2>\n\u003cp>In the video for “Stay in the Car,” Ellen Kempner (of Palehound) and Melina Duterte (of the East Bay’s \u003ca href=\"https://www.kqed.org/arts/11856250/jay-som-and-the-transformation-of-turn-into\" target=\"_blank\" rel=\"noopener noreferrer\">Jay Som\u003c/a>), newly collaborating as \u003ca href=\"https://www.instagram.com/bachelor_band/\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>, are dressed in thick layers and fluorescent green beanies; their breath condenses in front of them. And yet their song—the second single off \u003ci>Doomin’ Sun\u003c/i>, due out May 28—is golden and summery, with Pixies-like riffs that make the whole ride an incredibly joyful one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps that’s because the song was inspired by a chance encounter with a glamorous woman in a Florida parking lot. “I wanted to be a part of her life, her best friend, her driver, whatever she wanted me to be,” Kempner says. “I was completely mesmerized.”\u003c/p>\n\u003cp>“Stay in the Car” transports us into that stunned feeling, and the video by Haoyan of America builds a whole imagined world inside—of course—a car. Kempner and Duterte describe Bachelor as not a band, but a friendship, and with this song, it’s clear \u003ci>we’re\u003c/i> now the ones outside, hoping to join in. \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XT3Xz8gbVdY'\n title='//www.youtube.com/embed/XT3Xz8gbVdY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Miko Marks, “Travel Light”\u003c/h2>\n\u003cp>Last week Oakland-based country artist \u003ca href=\"https://www.mikomarks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Miko Marks\u003c/a> dropped her first full album in over a dozen years, \u003cem>Our Country\u003c/em>. It features the song “Travel Light,” a slow, somber track that makes you want to find a sun setting into the horizon and walk into it.\u003c/p>\n\u003cp>The acoustic guitar riff leads listeners into the lyrics, “Sorry I did not make it building castles made of sand / in the end I could not take it, and I hoped you’d understand / Cause I can’t find the fire to stay here and fight / All that’s left is to run, so I travel light.” And then the heavy drum kicks.\u003c/p>\n\u003cp>The album, a collaboration with The Resurrectors, also features the protest song “Goodnight America,” the hymn “Not Be Moved” and a song that’ll make you feel like you’re in a juke joint, “Water to Wine.”\u003cbr>\nIt’s a true country album, with notes of blues and soul; a little something to listen to as the sun sets. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ADsE_PrdKxQ'\n title='//www.youtube.com/embed/ADsE_PrdKxQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Caroline Chung and Citizens Jazz, “Vitamin D”\u003c/h2>\n\u003cp>Sometimes a simple walk in the sunshine can help shake feelings of malaise, and \u003ca href=\"https://carolinechung.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Chung\u003c/a> and her collective Citizens Jazz remind us of just that on their new track “Vitamin D.” Chung, a bassist who was a prolific live performer pre-pandemic, has taken the past year to level up as a producer. For “Vitamin D,” the lead single of her new album \u003cem>Sounds of Haejin\u003c/em>, Danny Brown’s breezy saxophone licks float like iridescent soap bubbles above Chung’s steady bass, Andre Mateo’s sun-soaked guitar and Brandon’s charged-up drumming.\u003c/p>\n\u003cp>In her honeyed voice, singer Taqwa lulls us with the upbeat mantra, “Take a deep breath, slow down your thoughts / Follow the signs, connect the dots / Open your eyes, got off your bed / Let the sun shine / get out of your head.” It’s hard not to sing along after a few repeats.\u003c/p>\n\u003cp>But, in the most surprising artistic choice of the track, a poem by \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> cuts through the easy-listening atmosphere. In his trademark stream-of-consciousness delivery, Martin—who is San Francisco’s new poet laureate—rattles off a stark poem about survival in an unforgiving world. “There were hammers in my cradle, which made some people scared to check on me,” he begins. Tuning into the poem while grooving to this dreamy tune can be jarring, but it works. Ultimately, the track reminds us that it’s possible to find joy even amid the harshness of life. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1obPFsukLLQ'\n title='//www.youtube.com/embed/1obPFsukLLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Kai the Universe, “All Natural*” feat. Lil Mumba\u003c/h2>\n\u003cp>Oakland native and Howard University freshman \u003ca href=\"https://www.instagram.com/kai_the_universe/\" target=\"_blank\" rel=\"noopener noreferrer\">Kai the Universe\u003c/a> dropped the music video for his new track “All Natural*” featuring Jax the Band’s Lil Mumba last Saturday. Skating over the beat with his trademark breathy vocals, the video follows Kai as he weaves his way through a party and butterflies float across the screen. Editor Arya Damany creates a visual experience to match the song, with psychedelic effects and Kai the Universe’s signature pink and purple tones.\u003c/p>\n\u003cp>“I was on another level” sings Lil Mumba, opening his verse as the screen flashes and fireworks go off behind Kai. The effects remain until the last 30 seconds, when the music stops and the camera cuts between well-lit shots of seven women of color laughing and smiling. Telling its own story in tandem with the music, the video features cameos by Lil Mumba’s Jax the Band bandmates and friends of the two artists. \u003cem>—Samuel Getachew\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lrBFwP99a6E'\n title='//www.youtube.com/embed/lrBFwP99a6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ruby Mountain, “Seeker”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.rubymountainmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Mountain\u003c/a> is the divine feminine embodied in her new music video for “Seeker,” a sensual track that shows off the rich timbre of her big, soulful voice. Dancing alone as the tides of the ocean lap at her skin, singing into a fire and grazing her body against 100-year-old redwoods, the singer belts over a slow clap and moody keys about the discovery process of falling in love. In the context of the visual, it’s as if the Earth itself is the lover she has in mind. With a mystical vibe suited for a candlelit evening, “Seeker” sets the mood to introspect. \u003cem>—N.V.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/umsClQ6jeAU'\n title='//www.youtube.com/embed/umsClQ6jeAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Shanté, “I’d Rather Go Blind” (Etta James cover)\u003c/h2>\n\u003cp>When Oakland’s \u003ca href=\"https://smarturl.it/ShanteProtectionEP\" target=\"_blank\" rel=\"noopener noreferrer\">Shanté\u003c/a> stepped out of the booth after recording her version of “I’d Rather Go Blind,” the people in the studio knew she had something special. You can hear them praising her talents at the end of the track.\u003c/p>\n\u003cp>The video was posted on social media a few days ago, and has since been shared thousands of times, most notably by Mistah F.A.B., Kehlani and Snoop Dogg. That’s a pretty big deal for an 18-year-old artist who just dropped her debut solo project.\u003c/p>\n\u003cp>Her seven-song album, \u003cem>Protection\u003c/em>, features the vocals that set the internet ablaze, but this time singing her own tunes. From the sultry opening track “Deep End” to the uptempo groove “Party On Mars,” the young artist is carving her own path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But before you jump into the album, you gotta—you just gotta—listen to her rendition of Etta James’ classic. Actually, do yourself a favor and watch the video. \u003cem>—P.H.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13894963/pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more","authors":["11387","185","11491","61","11734"],"categories":["arts_1"],"tags":["arts_1604","arts_7534","arts_10278","arts_13240","arts_5422"],"featImg":"arts_13894992","label":"arts"},"arts_13880253":{"type":"posts","id":"arts_13880253","meta":{"index":"posts_1591205157","site":"arts","id":"13880253","score":null,"sort":[1589500848000]},"guestAuthors":[],"slug":"its-still-raining-game-in-northern-california","title":"It's Still Raining Game in Northern California","publishDate":1589500848,"format":"standard","headTitle":"It’s Still Raining Game in Northern California | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pReD5WRO3vI\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\n\u003cp>https://youtu.be/e1U-t277yXE\u003c/p>\n\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n","blocks":[],"excerpt":"A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.","status":"publish","parent":0,"modified":1705020737,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1667},"headData":{"title":"It's Still Raining Game in Northern California | KQED","description":"A worldwide pandemic can’t stifle musicians, filmmakers, rappers and artists in the Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"It's Still Raining Game in Northern California","datePublished":"2020-05-15T00:00:48.000Z","dateModified":"2024-01-12T00:52:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13880253/its-still-raining-game-in-northern-california","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f there’s one thing I’ve learned in the past two months, it’s that a worldwide pandemic can’t stifle the artists of Northern California. Which makes sense—it’s one of the most innovative places on the planet. Creativity is in our cellular membranes and the culture pulses through our veins. Plus, the rent is too damn high to quit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Let’s start with the well-known names. This past weekend, Oakland’s own \u003cstrong>Kehlani\u003c/strong> hit No. 1 on the Apple Music charts with her latest album, \u003cem>It Was Good Until It Wasn’t\u003c/em>. As the project took off, Kehlani made videos in quarantine and took to Twitter sharing intimate details of her experience to promote the album. It was something she had to do—otherwise, citing the coronavirus, \u003ca href=\"https://pitchfork.com/thepitch/kehlani-it-was-good-until-it-wasnt-album-cover-interview/?mbid=social_facebook&utm_source=facebook&utm_social-type=owned&utm_brand=p4k&utm_medium=social&utm_source=twitter&utm_brand=p4k&mbid=social_twitter&utm_medium=social&utm_social-type=owned\" target=\"_blank\" rel=\"noopener noreferrer\">her label would’ve postponed the release of her album\u003c/a>.\u003c/p>\n\u003cp>Just a few days before that, Sacramento’s \u003cstrong>Mozzy\u003c/strong> dropped \u003cem>Beyond Bulletproof.\u003c/em> He’d recently broadcasted a series of \u003ca href=\"https://www.youtube.com/watch?v=ZAVuUtxc5fg&feature=emb_title\">public therapy sessions\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13880011/mozzys-new-album-processes-trauma-incarceration-by-documenting-his-healing\">initially dropped the album through JPay\u003c/a>—a service for incarcerated folks—a week before the album’s general release. On top of that, he did an interview with Rap Radar’s \u003ca href=\"https://www.instagram.com/tv/B_xsftpHAQn/?utm_source=ig_web_copy_link\">Elliott Wilson\u003c/a>. Active on the internet, in the streets and behind bars.\u003c/p>\n\u003cp>The Bay’s even getting active in television. Check the soundtrack for this season of \u003cem>Insecure\u003c/em>, which features previously released music from \u003ca href=\"https://twitter.com/LilSnickerfoot/status/1252642870319702016?s=20\">\u003cstrong>Michael Sneed\u003c/strong>\u003c/a> in one episode and \u003ca href=\"https://twitter.com/kamaiyah/status/1259701062908252160?s=20\">\u003cstrong>Kamaiyah\u003c/strong>\u003c/a> in another. And, of course, the Bay’s own \u003ca href=\"https://www.instagram.com/p/B_x8IAsJaGc/\">\u003cstrong>Nijla Mu’min\u003c/strong>\u003c/a> directed \u003cem>Insecure\u003c/em>‘s fourth episode from this season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for getting active in Hollywood, check Netflix’s \u003ca href=\"https://variety.com/2020/film/reviews/all-day-and-a-night-review-ashton-sanders-1234593865/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>All Day and A Night\u003c/em>\u003c/a>. The story of an aspiring rapper from Oakland, the film has star power from Oakland’s \u003cstrong>Yahya Abdul-Mateen II\u003c/strong> and a bunch of cameos from Northern California folks, including members of the dance crew \u003cstrong>Turf Fiendz\u003c/strong> and Oakland’s \u003cstrong>Rolanda D. Bell\u003c/strong>. The film was written by San Francisco’s \u003cstrong>Joe Robert Cole\u003c/strong>, was filmed in Oakland and Alameda, and \u003ca href=\"https://www.youtube.com/playlist?list=PL09XmXSlwDoreuB74JlQD-a4KfsTVvxie\">its soundtrack\u003c/a> features \u003cstrong>Tia Nomore, SOBxRBE, Paris,\u003c/strong> the \u003cstrong>Conscious Daughters, P-Lo, Mac Dre\u003c/strong> and more.\u003c/p>\n\u003cp>And then there’s \u003cstrong>Kool John\u003c/strong>, who’s also featured on the aforementioned soundtrack. The Richmond artist was recently shot six times during a robbery, recovered, and \u003ca href=\"https://twitter.com/K00LJ0HN/status/1257490570995331073?s=20\">hopped on Twitter to remix a Tupac quote to fit to his situation\u003c/a>.\u003c/p>\n\u003cp>Further evidence that despite catastrophic circumstances, we don’t know how to stop.\u003c/p>\n\u003cfigure id=\"attachment_13880487\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880487\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg\" alt=\"Nappy Nina's 30 Bag album cover\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EXMN6okXgAIjAZs.jpg 2048w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina’s ’30 Bag’ album cover. \u003ccite>(Nappy Nina)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or artists in the Northern California, being creative is damn near synonymous with breathing. Even when we leave our region, we carry it with us. Ask Oakland’s own \u003cstrong>Nappy Nina\u003c/strong>, who’s currently living in New York and bringing heat to all the \u003ca href=\"https://twitter.com/Nappy_Nina/status/1259252529814265860?s=20\">MENcees\u003c/a> out there. Nappy Nina’s latest project \u003cem>\u003ca href=\"https://nappynina.lnk.to/30Bag\">30 Bag\u003c/a>\u003c/em>, full of quality vibes and strategic wordplay, dropped on her 30th birthday.\u003c/p>\n\u003cfigure id=\"attachment_13880374\" class=\"wp-caption alignright\" style=\"max-width: 238px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13880374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg\" alt=\"Drew Banga by Stoni\" width=\"238\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/EWzRrqCUEAAO1Cw-160x232.jpg 160w\" sizes=\"(max-width: 238px) 100vw, 238px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga by Stoni. \u003ccite>(Stoni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Need that more twang in your tunes? On Texas rapper \u003cstrong>Siddiq\u003c/strong>’s latest album, \u003ca href=\"https://li.sten.to/SlideMusic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Slide Music\u003c/em>\u003c/a>, his southern delivery pairs well with the production of Oakland’s \u003cstrong>1-O.A.K.\u003c/strong>, Alameda’s \u003cstrong>Trackademicks\u003c/strong> and the rest of the HNRL crew—\u003ca href=\"https://www.npr.org/sections/allsongs/2020/05/11/853575718/heat-check-shook-up-shook-down-shook-out\" target=\"_blank\" rel=\"noopener noreferrer\">even NPR thinks so\u003c/a>. The track that caught my ear is “Wantanabe,” produced by Oakland’s \u003cstrong>Drew Banga\u003c/strong>.\u003c/p>\n\u003cp>I’ve \u003ca href=\"https://www.kqed.org/arts/13859615/rightnowish-rap-producer-drew-banga-on-music-and-fatherhood\">talked to Banga\u003c/a> on a few occasions, I can assure you he’s a really bright guy. But I’m thoroughly convinced the term “take a break” isn’t in his lexicon.\u003c/p>\n\u003cp>Banga just released a song and dance, “\u003ca href=\"https://twitter.com/DrewwwBanga/status/1258847454583091201?s=20\">G-Step\u003c/a>,” with San Francisco’s \u003cstrong>Jordan “Stunnaman02” Gomes\u003c/strong>. Banga then turned around and announced he’s got an upcoming project with Oakland lyricist \u003cstrong>Stoni\u003c/strong> called \u003cem>Ferrari Fawcet\u003c/em>, set to drop in July. Evidently, Stoni isn’t familiar with slowing down either, as she’s been occupying her time by \u003ca href=\"https://twitter.com/CallHerStoni/status/1251240115227123714?s=20\">drawing folks\u003c/a> on commission—she’s done over 20 pieces.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pReD5WRO3vI'\n title='//www.youtube.com/embed/pReD5WRO3vI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of the silver linings of this downtime is the ability to get familiar with artists I should’ve been listening to. For example, San Francisco’s \u003cstrong>Troy LLF\u003c/strong>, who just released \u003ca href=\"https://soundcloud.com/troyllf\">\u003cem>Til Death Do Us Part II\u003c/em>. \u003c/a>Troy LLF’s mature lyrical approach is a great counterbalance to the party music our region’s often associated with.\u003c/p>\n\u003cp>Another artist who’s newly on my radar is Oakland’s \u003cstrong>Mahawam\u003c/strong>. I couldn’t help but notice Mahawam’s recent video for, “\u003ca href=\"https://www.youtube.com/watch?v=pReD5WRO3vI\">HOPING NO ONE NOTICE\u003c/a>.” And if you like that trippy-hop vibe, I’d suggest checking out the work of \u003cstrong>MH the Verb\u003c/strong>, who calls Oakland home now but is originally from New York by way of Philly. The new 420-friendly video for his song “\u003ca href=\"https://www.instagram.com/tv/B_NbXTSFLPN/?utm_source=ig_web_copy_link\">Birthstones\u003c/a>” is a great introduction to his lyrical space odyssey of an album, \u003cem>\u003ca href=\"https://ffm.to/spaceninja\">Afronaut\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Need more vibes? Check out \u003ca href=\"https://www.ashiakarana.com/\">\u003cstrong>Ashia Karana\u003c/strong>\u003c/a>—she grew up between New Jersey and Atlanta, but came to the Bay to study sound healing. The people she met influenced her so much that the cover art for her new project, \u003cem>Trust\u003c/em>, is done by Bay Area singer, songwriter and graphic designer \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Stoney\u003c/strong>\u003c/a>. (No relation to the aforementioned Stoni.) I listened to Ashia’s project twice last weekend, and ended up on the floor of my apartment holding a staring contest with the ceiling. I won.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e1U-t277yXE'\n title='//www.youtube.com/embed/e1U-t277yXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another mention along those vibe lines: Oakland’s \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a> dropped a new atmospheric single while sheltering in place, called “\u003ca href=\"https://jadaimani.bandcamp.com/track/i-think-that-i-am\" target=\"_blank\" rel=\"noopener noreferrer\">I Think That I Am\u003c/a>.”\u003c/p>\n\u003cp>Need more of that romantic R&B feel in your life? The new single from Union City’s \u003ca href=\"https://twitter.com/larrenwong\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>LarrenWong\u003c/strong>\u003c/a>, “\u003ca href=\"https://twitter.com/larrenwong/status/1253575585583861760?s=20\">Out My Way\u003c/a>,” almost made me text an ex. But then the pure vocals from Oakland’s \u003cstrong>Dom Jones\u003c/strong>, on her latest single “\u003ca href=\"https://distrokid.com/hyperfollow/domjones/crazytown\" target=\"_blank\" rel=\"noopener noreferrer\">Crazy Town\u003c/a>,” reminded me to put my phone down.\u003c/p>\n\u003cp>Soon after that, I was told to remain focused on my craft by an elder statesman, Vallejo’s \u003cstrong>E-40\u003c/strong>. He just dropped \u003cem>\u003ca href=\"https://twitter.com/E40/status/1259646488428212224?s=20\">The Curb Commentator\u003c/a>\u003c/em>, the first of a four-part EP series scheduled to drop throughout the year.\u003c/p>\n\u003cp>I repeat: E-40’s releasing a \u003cem>four-part project\u003c/em> this year, and he’s 52 years old. What’s your excuse?\u003c/p>\n\u003cfigure id=\"attachment_13880470\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880470\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg\" alt=\"Cruise USA, Larry June and Cardo's latest project\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/1589057767_2ddb8bc5b3da89215a12aefd69d36f6b-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Cruise USA, Larry June and Cardo’s latest project. \u003ccite>(Larry June)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>omeone with a similar consistency and penchant for putting real-spill over dope beats is San Francisco’s \u003cstrong>Larry June\u003c/strong>. I honestly didn’t know he even dropped a project last week until I started writing this article. I checked his Twitter, just because dude drops a new project every time the fog comes in over the Golden Gate, and sure enough, his latest project \u003cem>\u003ca href=\"https://twitter.com/LarryJuneTFM/status/1258943562248421378?s=20\">Cruise USA\u003c/a>\u003c/em> is on all platforms.\u003c/p>\n\u003cp>A good example of an “I’m not letting COVID stop my artistic flow,” is Allen “\u003ca href=\"https://www.instagram.com/LooveMoore2020/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Loove Moore\u003c/strong>\u003c/a>” Moore. He’s from West Oakland—specifically, Acorn–and he’s a musician, multimedia maker and a self-proclaimed introvert who’s found solace in creating a safe place for others to be themselves. That space was a weekly talent showcase called “\u003ca href=\"https://www.instagram.com/LooveAtTheLake/\" target=\"_blank\" rel=\"noopener noreferrer\">Loove at the Lake\u003c/a>.” Last year, in its first year of operation, it was featured in the \u003ca href=\"https://projects.sfchronicle.com/2019/visuals/lake-merritt-backyard/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But now that people aren’t (supposed to be) gathering en masse, he’s spending his time shooting and editing videos for the music he’s continually making. How’s he staying inspired?\u003c/p>\n\u003cp>“I march to my own understanding of life,” Loove Moore told me during a phone call, sitting outside of a studio working on a podcast. “I feel like self-expression is needed, so I don’t explode.”\u003c/p>\n\u003cp>He says it’s not just the resilient mentality that comes with being raised in West Oakland, but “the spirit” from the black church that has pushed his artistic endeavors. And now, he creates something new, constantly. When asked what the key to it all is, he simply says: “I just participate in life, bro.”\u003c/p>\n\u003cp>And it’s as simple as that for some of us. Creating is just how we participate in life.\u003c/p>\n\u003cfigure id=\"attachment_13880517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/LoveMoore-800x533.jpg\" alt=\"LoveMoore.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/LoveMoore.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Loove Moore. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ats off to the artists from this region who haven’t stopped creating. To those who’ve been sitting on work and finally dropped it, as well as those who’ve used this time in isolation to get creative.\u003c/p>\n\u003cp>I’m looking forward to the work of Class of 2020 high school graduate (and future NYU student) \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>J.Walt\u003c/strong>\u003c/a>, who’s dropping a project called \u003cem>Yours Truly\u003c/em> this weekend.\u003c/p>\n\u003cp>Keeping an eye as well on East Bay lyricist \u003ca href=\"https://www.instagram.com/tv/CAIso0bggWP/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Ruby Ibarra\u003c/strong>\u003c/a>, who just dropped a new video this week and is guaranteed to be working on more.\u003c/p>\n\u003cp>Berkeley’s \u003cstrong>Caleborate\u003c/strong> also dropped a five-track project called “\u003ca href=\"http://ffm.to/sparksinthestudio\" target=\"_blank\" rel=\"noopener noreferrer\">Sparks In The Studio\u003c/a>,” just this week. I’ve yet to listen to it, but given what I know of the guy’s work, it’ll be worthwhile.\u003c/p>\n\u003cp>Fellow Berkeleyite \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1260401866661232640?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Rexx Life Raj\u003c/strong>\u003c/a> announced a new video coming Friday. I’ll watch that in tandem with \u003ca href=\"https://twitter.com/kamaiyah/status/1260646823082905600?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah’s latest song\u003c/a>, as she’s just announced that she’s dropping new music every Friday, starting this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a consumer and fan, I want to thank y’all for your art. It’s needed all the time, and especially right now.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880253/its-still-raining-game-in-northern-california","authors":["11491"],"categories":["arts_1","arts_2303","arts_835","arts_76","arts_74","arts_69","arts_990","arts_70"],"tags":["arts_1604","arts_2767","arts_1601","arts_10342","arts_10278","arts_831","arts_11028","arts_1558","arts_1829","arts_9337","arts_3798","arts_2624","arts_3851","arts_974","arts_1983","arts_8924"],"featImg":"arts_13880254","label":"arts"},"arts_13838662":{"type":"posts","id":"arts_13838662","meta":{"index":"posts_1591205157","site":"arts","id":"13838662","score":null,"sort":[1534006146000]},"guestAuthors":[],"slug":"at-outside-lands-on-friday-lgbtq-performers-steal-the-show","title":"At Outside Lands on Friday, LGBTQ Performers Steal the Show","publishDate":1534006146,"format":"image","headTitle":"At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.[contextly_sidebar id=”fvFDOVbB2fBk21rqpRjgzcfitzF3oRU6″]\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nananastia/status/1028085739580346370\u003c/p>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ","status":"publish","parent":0,"modified":1705027387,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1337},"headData":{"title":"At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED","description":"Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At Outside Lands on Friday, LGBTQ Performers Steal the Show","datePublished":"2018-08-11T16:49:06.000Z","dateModified":"2024-01-12T02:43:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1028085739580346370"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show","authors":["11387"],"categories":["arts_69","arts_235","arts_75"],"tags":["arts_1604","arts_1118","arts_3226","arts_5442","arts_596","arts_1739"],"featImg":"arts_13838730","label":"arts"},"arts_13824660":{"type":"posts","id":"arts_13824660","meta":{"index":"posts_1591205157","site":"arts","id":"13824660","score":null,"sort":[1518662103000]},"guestAuthors":[],"slug":"on-the-air-cy-and-jamedras-do-list-picks-for-feb-16-2018","title":"On the Air: Cy And Jamedra’s Do List Picks for Feb. 16, 2018","publishDate":1518662103,"format":"audio","headTitle":"On the Air: Cy And Jamedra’s Do List Picks for Feb. 16, 2018 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"The Do List this week features a show about Ben Vereen’s ill-fated blackface performance, and a chance to celebrate black joy.","status":"publish","parent":0,"modified":1705028490,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":228},"headData":{"title":"On the Air: Cy And Jamedra’s Do List Picks for Feb. 16, 2018 | KQED","description":"The Do List this week features a show about Ben Vereen’s ill-fated blackface performance, and a chance to celebrate black joy.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy And Jamedra’s Do List Picks for Feb. 16, 2018","datePublished":"2018-02-15T02:35:03.000Z","dateModified":"2024-01-12T03:01:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2018/02/TDL20180216.mp3","sticky":false,"path":"/arts/13824660/on-the-air-cy-and-jamedras-do-list-picks-for-feb-16-2018","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824660/on-the-air-cy-and-jamedras-do-list-picks-for-feb-16-2018","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_71","arts_69","arts_235","arts_1003","arts_75","arts_967","arts_990","arts_70"],"tags":["arts_1604","arts_549","arts_3972","arts_1118","arts_1006","arts_6387","arts_596","arts_3986","arts_1111","arts_626","arts_1955"],"featImg":"arts_13824374","label":"arts_140"},"arts_13824564":{"type":"posts","id":"arts_13824564","meta":{"index":"posts_1591205157","site":"arts","id":"13824564","score":null,"sort":[1518647229000]},"guestAuthors":[],"slug":"rapper-caleborate-is-still-a-real-person-despite-his-success","title":"Rapper Caleborate is Still a \"Real Person\" Despite his Success","publishDate":1518647229,"format":"standard","headTitle":"Rapper Caleborate is Still a “Real Person” Despite his Success | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Berkeley Rapper Caleborate career began to take off in 2016, when his single “Options” hit big, with more than 1 million plays on Spotify. But as his new album \u003cem>Real Person\u003c/em> makes clear, Caleborate AKA Caleb Parker isn’t on an ego trip, even though our Senior Arts Editor Gabe Meline dubbed Caleborate “the East Bay’s next rap titan.” My co-host Jamedra Brown Fleischman and I decided our favorite song is “Caught Up,” about Caleborate’s troubled relationship with his dad. In it he sings:\u003c/p>\n\u003cblockquote>\u003cp>I’m just a byproduct of the pain I keep inside of\u003cbr>\nMy mind is always racing, but they ain’t no f***ing driver\u003cbr>\nMy heart is more cold than a pimp to a client\u003cbr>\n’cause I am not perfect, unlike God’s timing\u003cbr>\nI wanna do better, and I’m tryin’\u003c/p>\u003c/blockquote>\n\u003cp>Caleborate plays the The Cornerstone in Berkeley Feb. 22, and then he’s at The Atrium in Santa Cruz on Feb. 28. \u003ca href=\"https://www.facebook.com/thatblackkidthatraps/app/123966167614127/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z_02_aBCu_g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Caleborate, the Bay Area's next rap titan, keeps it real on his new album 'Real Person.'","status":"publish","parent":0,"modified":1705028498,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":189},"headData":{"title":"Rapper Caleborate is Still a \"Real Person\" Despite his Success | KQED","description":"Caleborate, the Bay Area's next rap titan, keeps it real on his new album 'Real Person.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rapper Caleborate is Still a \"Real Person\" Despite his Success","datePublished":"2018-02-14T22:27:09.000Z","dateModified":"2024-01-12T03:01:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13824564/rapper-caleborate-is-still-a-real-person-despite-his-success","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley Rapper Caleborate career began to take off in 2016, when his single “Options” hit big, with more than 1 million plays on Spotify. But as his new album \u003cem>Real Person\u003c/em> makes clear, Caleborate AKA Caleb Parker isn’t on an ego trip, even though our Senior Arts Editor Gabe Meline dubbed Caleborate “the East Bay’s next rap titan.” My co-host Jamedra Brown Fleischman and I decided our favorite song is “Caught Up,” about Caleborate’s troubled relationship with his dad. In it he sings:\u003c/p>\n\u003cblockquote>\u003cp>I’m just a byproduct of the pain I keep inside of\u003cbr>\nMy mind is always racing, but they ain’t no f***ing driver\u003cbr>\nMy heart is more cold than a pimp to a client\u003cbr>\n’cause I am not perfect, unlike God’s timing\u003cbr>\nI wanna do better, and I’m tryin’\u003c/p>\u003c/blockquote>\n\u003cp>Caleborate plays the The Cornerstone in Berkeley Feb. 22, and then he’s at The Atrium in Santa Cruz on Feb. 28. \u003ca href=\"https://www.facebook.com/thatblackkidthatraps/app/123966167614127/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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/z_02_aBCu_g'\n title='//www.youtube.com/embed/z_02_aBCu_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13824564/rapper-caleborate-is-still-a-real-person-despite-his-success","authors":["32"],"programs":["arts_140"],"categories":["arts_69"],"tags":["arts_1270","arts_1604","arts_1006","arts_6387","arts_596","arts_974"],"featImg":"arts_13824576","label":"arts_140"},"arts_13812162":{"type":"posts","id":"arts_13812162","meta":{"index":"posts_1591205157","site":"arts","id":"13812162","score":null,"sort":[1508526015000]},"guestAuthors":[],"slug":"behind-the-beats-l-a-beckons-for-trackademicks-1-o-a-k-and-cal-a","title":"Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A","publishDate":1508526015,"format":"image","headTitle":"Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gtzefLBravg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"What if you love the Bay, but opportunities pull you to Los Angeles? Producers Trackademicks, Cal-A and 1-O.A.K. are among those who've decided to make the move.","status":"publish","parent":0,"modified":1705029280,"stats":{"hasAudio":true,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1229},"headData":{"title":"Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A | KQED","description":"What if you love the Bay, but opportunities pull you to Los Angeles? Producers Trackademicks, Cal-A and 1-O.A.K. are among those who've decided to make the move.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A","datePublished":"2017-10-20T19:00:15.000Z","dateModified":"2024-01-12T03:14:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli","path":"/arts/13812162/behind-the-beats-l-a-beckons-for-trackademicks-1-o-a-k-and-cal-a","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \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/gtzefLBravg'\n title='//www.youtube.com/embed/gtzefLBravg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812162/behind-the-beats-l-a-beckons-for-trackademicks-1-o-a-k-and-cal-a","authors":["byline_arts_13812162"],"categories":["arts_69"],"tags":["arts_1604","arts_1118","arts_831","arts_1558","arts_596"],"featImg":"arts_13812165","label":"arts"},"arts_13812001":{"type":"posts","id":"arts_13812001","meta":{"index":"posts_1591205157","site":"arts","id":"13812001","score":null,"sort":[1508425246000]},"guestAuthors":[],"slug":"behind-the-beats-julia-lewis","title":"Behind the Beats: JULiA LEWiS","publishDate":1508425246,"format":"image","headTitle":"Behind the Beats: JULiA LEWiS | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>In 2015, Ben Falik, a.k.a. \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, was unfulfilled with his job at an ad agency. When we \u003ca href=\"http://pigeonsandplanes.com/in-depth/2015/02/14-rising-bay-area-artists-you-should-know/rey-res\" target=\"_blank\" rel=\"noopener\">sat down to talk\u003c/a> that year, the Berkeley-born producer was hoping to quit his job to focus on a musical career. Falik had only a handful of production credits to his name back then, the most high-profile being a collaboration with former Zion I producer Amp Live. He spoke of San Francisco producer \u003ca href=\"https://soundcloud.com/mr_carmack\" target=\"_blank\" rel=\"noopener\">Mr. Carmack\u003c/a> with reverence; his eyes lit up when he talked about his “dream” of collaborating with the Mad Decent- and Soulection-affiliated artist someday.\u003c/p>\n\u003cp>Now, two and a half years later, Falik is in his home studio in San Francisco, still beaming from the early September release of his track “On The Regular,” which he co-produced with Mikos Da Gawd (featured in an earlier installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>), Oakland rapper-producer Elujay, and his dream collaborator, Mr. Carmack. He turns up the volume, bites his lower lip and bounces in his seat with pride.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339511023″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I connected to him through Mikos. We were here and he says, ‘Aaron (Carmack) wants to come over, you wanna hang?’” Falik says. “We did six tracks that one session, and now those tracks are developing into songs — the first one just dropped.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Impromptu studio sessions like the one Falik describes are the lifeblood of a producer’s creativity, when artists get together and stay in the studio for hours, making beats and cutting tracks. In sessions like these, the rappers, singers and producers profiled in our \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a> series forge musical collaborations and develop friendships that make major impacts on the current Bay Area hip-hop scene.\u003c/p>\n\u003cp>“There’s a level of unspoken trust, in that I can say these people are my friends and we make music together,” Falik says. “People come through and we make music and maybe hit up a bar. Music is my social life.”\u003c/p>\n\u003cp>Falik notably produced more tracks than any other producer on Caleborate’s excellent album \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">\u003cem>1993\u003c/em>\u003c/a> (\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">one of KQED’s favorites\u003c/a> of 2016). Throughout his five contributions to the album, Falik flexed his dynamic repertoire of styles from track to track, like the slow-burning “August 28th,” the glitchy bounce of “Mind Piece,” and the bombastic four-on-the-floor beat of “Consequences.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/254182822″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But no JULiA LEWiS production has showcased Falik’s unique vision quite like — or garnered as much attention as — Rexx Life Raj’s “\u003ca href=\"https://www.youtube.com/watch?v=4CsOMbhDzQs\" rel=\"noopener\" target=\"_blank\">Handheld GPS\u003c/a>.” Falik’s beat is syncopated, unpredictable — its buzzing effects emulate the thoughts scattered through Raj’s lyrics as he ponders feeling lost despite having technology to guide his every move. It’s that perfect moment in hip-hop when the production doesn’t just complement the lyrics, but enhances them emotionally and allows them a deeper meaning.\u003c/p>\n\u003cp>“What I really like about his production is that there’s always an underlying smoothness to it,” Rexx Life Raj says of Falik. “His chord progressions are super clean and the way he incorporates live instrumentation and samples is unparalleled. ‘Handheld GPS’ is still my most popular record to date and one of the records that’s traveled the farthest for me. That’s a testament to our chemistry, but also his talent.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4CsOMbhDzQs\u003c/p>\n\u003cp>Falik first took an interest in beat production in Fortaleza, Brazil, as a student at Occidental College’s study abroad program. While on a weekend trip to Salvador, a city in Bahia known for its samba music and seafood (think of it as the New Orleans of Brazil), Falik found himself in the historic Pelourinho district watching a performance by famed samba drum school \u003ca href=\"https://en.wikipedia.org/wiki/Olodum\" target=\"_blank\" rel=\"noopener\">Olodum\u003c/a>.\u003c/p>\n\u003cp>Falik made a field recording of the drummers and brought it back to his host brother, who had a Brazilian guitar and wanted to record. “I put a Lil Wayne sample under Olodum drums and we did it,” Falik says with a chuckle and nostalgic gaze. “That rhythm of the drums and influence of Brazilian music — that was the first time I started making beats.”\u003c/p>\n\u003cp>In addition to supplying beats for an upcoming Rexx Life Raj album, Falik has recently collaborated with Canadian producer Ryan Hemsworth and Bay Area rapper-producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/18/behind-the-beats-p-lo/\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a> (also featured in \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>). But music is just a small part of his day-to-day. He does sales and marketing for \u003ca href=\"https://www.odangudon.com/\" target=\"_blank\" rel=\"noopener\">Odang Udon\u003c/a>, a fresh, pre-packaged Udon brand that he co-owns, as well as marketing and product design for \u003ca href=\"https://www.buenavistapreroll.com/welcome-to-buena-vista-pre-roll/\" target=\"_blank\" rel=\"noopener\">Buena Vista\u003c/a> pre-rolls, a cannabis company of which he also owns a small part.\u003c/p>\n\u003cp>“I took communication and product strategy from the ad world, but I guess I just didn’t want to enact someone else’s plan anymore as much as something that’s yours that you give a shit about,” he says. “Music is a similar hustle. It takes a certain amount of grit to keep going.”\u003c/p>\n\u003cfigure id=\"attachment_13812019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg\" alt=\"Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the full-time music career he envisioned two years ago hasn’t overtaken his schedule exactly as planned, his production skills continue to rise to the top of the local hip-hop scene.\u003c/p>\n\u003cp>“I don’t have a finite image of success in my head. It’s not money and it’s not followers,” Falik says. “That being said, I continue to feel love from people who listen. The music I make isn’t mine: It’s like I’m picking up on a frequency… I can’t trace it back to anything but love. But it’s one of the only things that makes me feel like I can communicate and express fully.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Meet the producer of Rexx Life Raj's \"Handheld GPS\" and Caleborate's \"Consequences.\"","status":"publish","parent":0,"modified":1705029293,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1202},"headData":{"title":"Behind the Beats: JULiA LEWiS | KQED","description":"Meet the producer of Rexx Life Raj's "Handheld GPS" and Caleborate's "Consequences."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Behind the Beats: JULiA LEWiS","datePublished":"2017-10-19T15:00:46.000Z","dateModified":"2024-01-12T03:14:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Adrian Spinelli","path":"/arts/13812001/behind-the-beats-julia-lewis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>In 2015, Ben Falik, a.k.a. \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, was unfulfilled with his job at an ad agency. When we \u003ca href=\"http://pigeonsandplanes.com/in-depth/2015/02/14-rising-bay-area-artists-you-should-know/rey-res\" target=\"_blank\" rel=\"noopener\">sat down to talk\u003c/a> that year, the Berkeley-born producer was hoping to quit his job to focus on a musical career. Falik had only a handful of production credits to his name back then, the most high-profile being a collaboration with former Zion I producer Amp Live. He spoke of San Francisco producer \u003ca href=\"https://soundcloud.com/mr_carmack\" target=\"_blank\" rel=\"noopener\">Mr. Carmack\u003c/a> with reverence; his eyes lit up when he talked about his “dream” of collaborating with the Mad Decent- and Soulection-affiliated artist someday.\u003c/p>\n\u003cp>Now, two and a half years later, Falik is in his home studio in San Francisco, still beaming from the early September release of his track “On The Regular,” which he co-produced with Mikos Da Gawd (featured in an earlier installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>), Oakland rapper-producer Elujay, and his dream collaborator, Mr. Carmack. He turns up the volume, bites his lower lip and bounces in his seat with pride.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339511023″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339511023″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I connected to him through Mikos. We were here and he says, ‘Aaron (Carmack) wants to come over, you wanna hang?’” Falik says. “We did six tracks that one session, and now those tracks are developing into songs — the first one just dropped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Impromptu studio sessions like the one Falik describes are the lifeblood of a producer’s creativity, when artists get together and stay in the studio for hours, making beats and cutting tracks. In sessions like these, the rappers, singers and producers profiled in our \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a> series forge musical collaborations and develop friendships that make major impacts on the current Bay Area hip-hop scene.\u003c/p>\n\u003cp>“There’s a level of unspoken trust, in that I can say these people are my friends and we make music together,” Falik says. “People come through and we make music and maybe hit up a bar. Music is my social life.”\u003c/p>\n\u003cp>Falik notably produced more tracks than any other producer on Caleborate’s excellent album \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">\u003cem>1993\u003c/em>\u003c/a> (\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">one of KQED’s favorites\u003c/a> of 2016). Throughout his five contributions to the album, Falik flexed his dynamic repertoire of styles from track to track, like the slow-burning “August 28th,” the glitchy bounce of “Mind Piece,” and the bombastic four-on-the-floor beat of “Consequences.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/254182822″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/254182822″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But no JULiA LEWiS production has showcased Falik’s unique vision quite like — or garnered as much attention as — Rexx Life Raj’s “\u003ca href=\"https://www.youtube.com/watch?v=4CsOMbhDzQs\" rel=\"noopener\" target=\"_blank\">Handheld GPS\u003c/a>.” Falik’s beat is syncopated, unpredictable — its buzzing effects emulate the thoughts scattered through Raj’s lyrics as he ponders feeling lost despite having technology to guide his every move. It’s that perfect moment in hip-hop when the production doesn’t just complement the lyrics, but enhances them emotionally and allows them a deeper meaning.\u003c/p>\n\u003cp>“What I really like about his production is that there’s always an underlying smoothness to it,” Rexx Life Raj says of Falik. “His chord progressions are super clean and the way he incorporates live instrumentation and samples is unparalleled. ‘Handheld GPS’ is still my most popular record to date and one of the records that’s traveled the farthest for me. That’s a testament to our chemistry, but also his talent.”\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/4CsOMbhDzQs'\n title='//www.youtube.com/embed/4CsOMbhDzQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Falik first took an interest in beat production in Fortaleza, Brazil, as a student at Occidental College’s study abroad program. While on a weekend trip to Salvador, a city in Bahia known for its samba music and seafood (think of it as the New Orleans of Brazil), Falik found himself in the historic Pelourinho district watching a performance by famed samba drum school \u003ca href=\"https://en.wikipedia.org/wiki/Olodum\" target=\"_blank\" rel=\"noopener\">Olodum\u003c/a>.\u003c/p>\n\u003cp>Falik made a field recording of the drummers and brought it back to his host brother, who had a Brazilian guitar and wanted to record. “I put a Lil Wayne sample under Olodum drums and we did it,” Falik says with a chuckle and nostalgic gaze. “That rhythm of the drums and influence of Brazilian music — that was the first time I started making beats.”\u003c/p>\n\u003cp>In addition to supplying beats for an upcoming Rexx Life Raj album, Falik has recently collaborated with Canadian producer Ryan Hemsworth and Bay Area rapper-producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/18/behind-the-beats-p-lo/\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a> (also featured in \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>). But music is just a small part of his day-to-day. He does sales and marketing for \u003ca href=\"https://www.odangudon.com/\" target=\"_blank\" rel=\"noopener\">Odang Udon\u003c/a>, a fresh, pre-packaged Udon brand that he co-owns, as well as marketing and product design for \u003ca href=\"https://www.buenavistapreroll.com/welcome-to-buena-vista-pre-roll/\" target=\"_blank\" rel=\"noopener\">Buena Vista\u003c/a> pre-rolls, a cannabis company of which he also owns a small part.\u003c/p>\n\u003cp>“I took communication and product strategy from the ad world, but I guess I just didn’t want to enact someone else’s plan anymore as much as something that’s yours that you give a shit about,” he says. “Music is a similar hustle. It takes a certain amount of grit to keep going.”\u003c/p>\n\u003cfigure id=\"attachment_13812019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg\" alt=\"Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the full-time music career he envisioned two years ago hasn’t overtaken his schedule exactly as planned, his production skills continue to rise to the top of the local hip-hop scene.\u003c/p>\n\u003cp>“I don’t have a finite image of success in my head. It’s not money and it’s not followers,” Falik says. “That being said, I continue to feel love from people who listen. The music I make isn’t mine: It’s like I’m picking up on a frequency… I can’t trace it back to anything but love. But it’s one of the only things that makes me feel like I can communicate and express fully.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812001/behind-the-beats-julia-lewis","authors":["byline_arts_13812001"],"categories":["arts_69"],"tags":["arts_1604","arts_1118","arts_831","arts_596"],"featImg":"arts_13812031","label":"arts"},"arts_12492601":{"type":"posts","id":"arts_12492601","meta":{"index":"posts_1591205157","site":"arts","id":"12492601","score":null,"sort":[1481918441000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2016-caleborate-1993","title":"The 10 Best Bay Area Albums of 2016: Caleborate, '1993'","publishDate":1481918441,"format":"standard","headTitle":"The 10 Best Bay Area Albums of 2016: Caleborate, ‘1993’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The biggest stories in rap this year were about comebacks: A Tribe Called Quest’s first album in 18 years, Gucci Mane’s release from prison and welcome re-entry on the charts. But in the Bay, as it usually is, the story was all about new birth – and from most angles, no rapper represented vital emergence more than Caleborate with \u003cem>1993\u003c/em>.\u003c/p>\n\u003cp>If the 23-year-old Caleb Parker wanted to make an album to appeal to old Tribe heads, or early Kanye stans, or puritans dedicated to “the culture,” he succeeded. 1993 knocks with all the dependable head-nodding elements: soul samples, boom-bap beats, squiggly bass lines. One of the album’s best tracks, “Thank God,” actually opens with the line “I miss the old days.” And the album’s named for \u003ca href=\"https://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">the Golden Year of Hip-Hop\u003c/a>, fer chrissakes. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X139sHYUQLc\u003c/p>\n\u003cp>But \u003cem>1993\u003c/em> isn’t a throwback for throwback’s sake. “Aug. 28” describes Parker’s journey to the Bay Area from his native Sacramento with a raw hunger and determination, backed by a sparse drum slap and oscillating waveform. “250 AM” describes conditions once he came here: exorbitant rent, low vacancy, gentrification, white kids at his shows pretending to be hood. Throughout, the album is peppered with conversations about the changing face of West Oakland and the Fillmore, and about the decimation of Oakland’s culture. \u003c/p>\n\u003cp>These are resonant issues in the Bay, where the black population in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">is on an alarming decline\u003c/a>, and where hip-hop talent \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener\">like Zion-I is priced out\u003c/a>. And though there’s no rule mandating that rap music must address these issues — too many listeners of hip-hop demand that victims also be vocal activists — Caleborate does so with both mindfulness and heart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LmmpSqj56Wk\u003c/p>\n\u003cp>He’s also not in it only for the serious stuff. On \u003cem>1993\u003c/em>, the “world’s hottest rapper still tryin’ to finish school” mellows out with friends (“Consequences”), plays video games in the middle of the street (see the video above for “Game Over”), and tries not to get derailed in his craft by beautiful girls (just about every other song). In other words, he’s a regular 23-year-old — albeit one that \u003ca href=\"https://www.instagram.com/p/BOBsCLuBaiW/\" target=\"_blank\" rel=\"noopener\">performed in front of thousands\u003c/a> at Oracle Arena this week, opening for collaborator and supporter G-Eazy.\u003c/p>\n\u003cp>Parker might want to get used to those stages. Earlier this year, when I \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/meet-23-year-old-caleborate-the-east-bays-next-rap-titan/\" target=\"_blank\" rel=\"noopener\">hung out with him for a week\u003c/a>, I watched fan after fan approach him on the street to take selfies. When I saw him at UC Berkeley, or Hiero Day, or in a club setting with a live band, he won over the crowds with his charm, determination and talent. If he keeps making slam-dunk albums like \u003cem>1993\u003c/em>, they’ll only get bigger. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"The 'hottest rapper still tryin' to finish school' put out an impeccably produced, serious-minded album about being a 23-year-old in a rapidly changing Bay Area.","status":"publish","parent":0,"modified":1705032154,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":552},"headData":{"title":"The 10 Best Bay Area Albums of 2016: Caleborate, '1993' | KQED","description":"The 'hottest rapper still tryin' to finish school' put out an impeccably produced, serious-minded album about being a 23-year-old in a rapidly changing Bay Area.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2016: Caleborate, '1993'","datePublished":"2016-12-16T20:00:41.000Z","dateModified":"2024-01-12T04:02:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/12492601/the-10-best-bay-area-albums-of-2016-caleborate-1993","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The biggest stories in rap this year were about comebacks: A Tribe Called Quest’s first album in 18 years, Gucci Mane’s release from prison and welcome re-entry on the charts. But in the Bay, as it usually is, the story was all about new birth – and from most angles, no rapper represented vital emergence more than Caleborate with \u003cem>1993\u003c/em>.\u003c/p>\n\u003cp>If the 23-year-old Caleb Parker wanted to make an album to appeal to old Tribe heads, or early Kanye stans, or puritans dedicated to “the culture,” he succeeded. 1993 knocks with all the dependable head-nodding elements: soul samples, boom-bap beats, squiggly bass lines. One of the album’s best tracks, “Thank God,” actually opens with the line “I miss the old days.” And the album’s named for \u003ca href=\"https://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">the Golden Year of Hip-Hop\u003c/a>, fer chrissakes. \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/X139sHYUQLc'\n title='//www.youtube.com/embed/X139sHYUQLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But \u003cem>1993\u003c/em> isn’t a throwback for throwback’s sake. “Aug. 28” describes Parker’s journey to the Bay Area from his native Sacramento with a raw hunger and determination, backed by a sparse drum slap and oscillating waveform. “250 AM” describes conditions once he came here: exorbitant rent, low vacancy, gentrification, white kids at his shows pretending to be hood. Throughout, the album is peppered with conversations about the changing face of West Oakland and the Fillmore, and about the decimation of Oakland’s culture. \u003c/p>\n\u003cp>These are resonant issues in the Bay, where the black population in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">is on an alarming decline\u003c/a>, and where hip-hop talent \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener\">like Zion-I is priced out\u003c/a>. And though there’s no rule mandating that rap music must address these issues — too many listeners of hip-hop demand that victims also be vocal activists — Caleborate does so with both mindfulness and heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/LmmpSqj56Wk'\n title='//www.youtube.com/embed/LmmpSqj56Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also not in it only for the serious stuff. On \u003cem>1993\u003c/em>, the “world’s hottest rapper still tryin’ to finish school” mellows out with friends (“Consequences”), plays video games in the middle of the street (see the video above for “Game Over”), and tries not to get derailed in his craft by beautiful girls (just about every other song). In other words, he’s a regular 23-year-old — albeit one that \u003ca href=\"https://www.instagram.com/p/BOBsCLuBaiW/\" target=\"_blank\" rel=\"noopener\">performed in front of thousands\u003c/a> at Oracle Arena this week, opening for collaborator and supporter G-Eazy.\u003c/p>\n\u003cp>Parker might want to get used to those stages. Earlier this year, when I \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/meet-23-year-old-caleborate-the-east-bays-next-rap-titan/\" target=\"_blank\" rel=\"noopener\">hung out with him for a week\u003c/a>, I watched fan after fan approach him on the street to take selfies. When I saw him at UC Berkeley, or Hiero Day, or in a club setting with a live band, he won over the crowds with his charm, determination and talent. If he keeps making slam-dunk albums like \u003cem>1993\u003c/em>, they’ll only get bigger. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12492601/the-10-best-bay-area-albums-of-2016-caleborate-1993","authors":["185"],"categories":["arts_69"],"tags":["arts_1580","arts_1579","arts_1604","arts_1118","arts_831","arts_596"],"featImg":"arts_12492804","label":"arts"},"arts_12064915":{"type":"posts","id":"arts_12064915","meta":{"index":"posts_1591205157","site":"arts","id":"12064915","score":null,"sort":[1474038029000]},"guestAuthors":[],"slug":"meet-23-year-old-caleborate-the-east-bays-next-rap-titan","title":"Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan","publishDate":1474038029,"format":"image","headTitle":"Meet 23-Year-Old Caleborate, the East Bay’s Next Rap Titan | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6fAQlZECJ4\u003c/p>\n\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=83wOmk9yLPs\u003c/p>\n\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xnJBBsTO2OQ\u003c/p>\n\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'","status":"publish","parent":0,"modified":1705033009,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":2264},"headData":{"title":"Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan | KQED","description":"The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan","datePublished":"2016-09-16T15:00:29.000Z","dateModified":"2024-01-12T04:16:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \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/J6fAQlZECJ4'\n title='//www.youtube.com/embed/J6fAQlZECJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\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/83wOmk9yLPs'\n title='//www.youtube.com/embed/83wOmk9yLPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\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/xnJBBsTO2OQ'\n title='//www.youtube.com/embed/xnJBBsTO2OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan","authors":["185"],"categories":["arts_69"],"tags":["arts_1270","arts_1604","arts_1118","arts_1088","arts_831","arts_596","arts_1143","arts_1401","arts_974"],"featImg":"arts_12075497","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. 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