PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands
Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar
It's Still Raining Game in Northern California
A Romantic Bay Area Playlist for Valentine's Day
The Best Bay Area Albums of the 2010s
Kehlani is a Queer Cyborg in Her New, Sci-Fi Music Video
Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It
Playlist: New Bay Area Love Songs
Sponsored
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The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Zendaya, Kehlani, Kev Choice and friends remember the charismatic ‘Euphoria’ star who died just three weeks after turning 25.","status":"publish","parent":0,"modified":1705005199,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1463},"headData":{"title":"Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud | KQED","description":"Zendaya, Kehlani, Kev Choice and friends remember the charismatic ‘Euphoria’ star who died just three weeks after turning 25.","ogTitle":"Tributes to Angus Cloud Pour in From Friends and Colleagues From Oakland","ogDescription":"","ogImgId":"","twTitle":"Tributes to Angus Cloud Pour in From Friends and Colleagues From Oakland","twDescription":"","twImgId":"","socialTitle":"Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud %%page%% %%sep%% KQED"},"sticky":false,"WpOldSlug":"tributes-to-angus-cloud-pour-in-from-friends-and-colleagues-in-oakland","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932452","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt","authors":["11242"],"categories":["arts_1","arts_11615","arts_235","arts_75","arts_1564","arts_990"],"tags":["arts_21297","arts_11323","arts_10342","arts_12226","arts_10278","arts_7525","arts_1829","arts_5371","arts_1143","arts_4693","arts_1091","arts_7137"],"featImg":"arts_13932515","label":"arts"},"arts_13905586":{"type":"posts","id":"arts_13905586","meta":{"index":"posts_1591205157","site":"arts","id":"13905586","score":null,"sort":[1635788577000]},"guestAuthors":[],"slug":"photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands","title":"PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands","publishDate":1635788577,"format":"standard","headTitle":"PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Outside Lands ended on a particularly festive note on Halloween, which brought the most people out of the three days, the majority of them in costume. A group of guys wore bowties and diapers in what I gathered was a “man baby” costume. A couple dressed as a lit-up Golden Gate Bridge complete with tulle fog. There was an AOC in a “Tax the Rich” dress from the Met Gala, some KISS members, obligatory \u003ci>Squid Game\u003c/i> contestants in tracksuits, space cowboys and many different kinds of aliens.[aside postid='arts_13905544']\u003c/p>\n\u003cp>The scene was as close as a mainstream festival gets to what people imagine when they think of San Franciscans letting their freak flags fly and setting aside differences to have fun. These are the musical acts that stood out on the final day of the festival’s pandemic-era return.\u003c/p>\n\u003cfigure id=\"attachment_13905598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kehlani plays an intimate hometown show\u003c/h2>\n\u003cp>Most people packed out the Lands End stage to see headliner Tame Impala, who sounded great but projected such distorted, trippy visuals that it was impossible to see what was happening on stage unless you decided to brave the crowds and get up close. The vibe at Kehlani’s Sutro Stage set at the same time was much more intimate, and she embraced it. “I know y’all came to a festival to dance and be crazy and mosh pit, but you know I make love songs,” she told the audience, which contained a notable number of couples in embrace. They began to sway when Kehlani sang the opening bars of the syrupy R&B track “Hate the Club.” \u003c/p>\n\u003cp>The Oakland native interspersed more recent radio singles like “Nights Like This” and “Ring,” her track with Cardi B, with earlier work that put her on the map. Tracks like “Distraction” and “CRZY” got big cheers from her hometown fans, many of whom have followed her since before her mixtape era. Kehlani performed with a full band, but rather than wow us with huge crescendos and guitar solos, they let her singularly warm voice be the star. The down-to-earth approach worked well, especially for the tender, queer love song “Honey,” which she introduced, in true Town fashion, by yelling “Where my gay bitches at?!”\u003c/p>\n\u003cfigure id=\"attachment_13905621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Egyptian Lover performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Egyptian Lover works his vinyl wizardry\u003c/h2>\n\u003cp>[aside postid='arts_13905536']A DJ set from Egyptian Lover, an elder statesman of the first pillar of hip-hop, made a trip to the House by Heineken tent worth it, even if it meant missing the action on the big music stages. At his concerts, Egyptian Lover typically raps live and does tricks on his 808, but at Outside Lands he let the ones and twos do the talking. He spun b-boy classics from the electrofunk era he came up in, like “Planet Rock” and “Rock It, Don’t Stop It.” But he never played them straight, scratching, fading vocals in and out and creating a sonic collage by putting the needle to the groove. The 50 person or so audience was dancing it out—someone dressed as Mrs. Doubtfire was shaking their butt pads, a \u003ci>Squid Game\u003c/i> guy was doing the most and another person twerked so hard they slipped in the mud.\u003c/p>\n\u003cfigure id=\"attachment_13905593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burna Boy performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burna Boy leaves a powerful message\u003c/h2>\n\u003cp>The mood was sunny during Burna Boy’s set at the Twin Peaks stage, where he performed with a full band that got the crowd winding their hips to Afrobeats. The guitarist played breezy melodies; the horns ushered in a celebratory atmosphere. Thunderous drums added gravitas as the Nigerian superstar sang in his big, booming voice, and rapped on tracks that shared a vernacular with American hip-hop. Within the uptempo set, some songs in Burna Boy’s catalogue introduced a darker edge. “20 10 20,” a song he wrote in response to \u003ca href=\"https://www.kqed.org/arts/13888379/oakland-artists-join-nigerias-endsars-movement-against-police-violence-from-afar\" rel=\"noopener noreferrer\" target=\"_blank\">Nigeria’s movement against corruption and police brutality\u003c/a>, marked an especially powerful moment as visuals depicting the country’s colonial history flashed on-screen. “Put one fist up and pump that shit because this is protest music,” Burna Boy said. \u003c/p>\n\u003cfigure id=\"attachment_13905589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Howard performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brittany Howard’s sunset groove\u003c/h2>\n\u003cp>Outside Lands felt like \u003ca href=\"https://www.npr.org/2021/07/01/1010306918/summer-of-soul-questlove-movie-review-harlem-cultural-festival\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Summer of Soul\u003c/em>\u003c/a> during Brittany Howard’s set, which took place at Lands End during the golden hour. Even though Howard performed on the big stage, she managed to convey the relaxed atmosphere of a block party. She and her band took their time to settle into the groove of each track, weaving together elements of R&B, funk and blues as the audience two-stepped along. Howard belted in her low alto, let out high notes in a falsetto and shouted impassioned ad libs in the vein of James Brown as gospel-style backup singers supported her with an angelic chorus. She ended the set with the uplifting track “Give It To Love,” a manifesto about kindness and connection that I’m pretty sure inspired everyone in the audience to do at least one good deed as they continued their day. \u003c/p>\n\u003cfigure id=\"attachment_13905596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">mxmtoon performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yves Tumor and Its Band perform at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofi Tukker backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Halloween saw the biggest crowds and lots of costumes on the final day of Outside Lands.","status":"publish","parent":0,"modified":1705007537,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":1034},"headData":{"title":"PHOTOS: Kehlani, Tame Impala Bring a Festive Close to Outside Lands | KQED","description":"Halloween saw the biggest crowds and lots of costumes on the final day of Outside Lands.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13905586/photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside Lands ended on a particularly festive note on Halloween, which brought the most people out of the three days, the majority of them in costume. A group of guys wore bowties and diapers in what I gathered was a “man baby” costume. A couple dressed as a lit-up Golden Gate Bridge complete with tulle fog. There was an AOC in a “Tax the Rich” dress from the Met Gala, some KISS members, obligatory \u003ci>Squid Game\u003c/i> contestants in tracksuits, space cowboys and many different kinds of aliens.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905544","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The scene was as close as a mainstream festival gets to what people imagine when they think of San Franciscans letting their freak flags fly and setting aside differences to have fun. These are the musical acts that stood out on the final day of the festival’s pandemic-era return.\u003c/p>\n\u003cfigure id=\"attachment_13905598\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Kehlani-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kehlani plays an intimate hometown show\u003c/h2>\n\u003cp>Most people packed out the Lands End stage to see headliner Tame Impala, who sounded great but projected such distorted, trippy visuals that it was impossible to see what was happening on stage unless you decided to brave the crowds and get up close. The vibe at Kehlani’s Sutro Stage set at the same time was much more intimate, and she embraced it. “I know y’all came to a festival to dance and be crazy and mosh pit, but you know I make love songs,” she told the audience, which contained a notable number of couples in embrace. They began to sway when Kehlani sang the opening bars of the syrupy R&B track “Hate the Club.” \u003c/p>\n\u003cp>The Oakland native interspersed more recent radio singles like “Nights Like This” and “Ring,” her track with Cardi B, with earlier work that put her on the map. Tracks like “Distraction” and “CRZY” got big cheers from her hometown fans, many of whom have followed her since before her mixtape era. Kehlani performed with a full band, but rather than wow us with huge crescendos and guitar solos, they let her singularly warm voice be the star. The down-to-earth approach worked well, especially for the tender, queer love song “Honey,” which she introduced, in true Town fashion, by yelling “Where my gay bitches at?!”\u003c/p>\n\u003cfigure id=\"attachment_13905621\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-Egyptian-Lover-performs-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Egyptian Lover performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Egyptian Lover works his vinyl wizardry\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905536","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A DJ set from Egyptian Lover, an elder statesman of the first pillar of hip-hop, made a trip to the House by Heineken tent worth it, even if it meant missing the action on the big music stages. At his concerts, Egyptian Lover typically raps live and does tricks on his 808, but at Outside Lands he let the ones and twos do the talking. He spun b-boy classics from the electrofunk era he came up in, like “Planet Rock” and “Rock It, Don’t Stop It.” But he never played them straight, scratching, fading vocals in and out and creating a sonic collage by putting the needle to the groove. The 50 person or so audience was dancing it out—someone dressed as Mrs. Doubtfire was shaking their butt pads, a \u003ci>Squid Game\u003c/i> guy was doing the most and another person twerked so hard they slipped in the mud.\u003c/p>\n\u003cfigure id=\"attachment_13905593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Burna-Boy-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burna Boy performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burna Boy leaves a powerful message\u003c/h2>\n\u003cp>The mood was sunny during Burna Boy’s set at the Twin Peaks stage, where he performed with a full band that got the crowd winding their hips to Afrobeats. The guitarist played breezy melodies; the horns ushered in a celebratory atmosphere. Thunderous drums added gravitas as the Nigerian superstar sang in his big, booming voice, and rapped on tracks that shared a vernacular with American hip-hop. Within the uptempo set, some songs in Burna Boy’s catalogue introduced a darker edge. “20 10 20,” a song he wrote in response to \u003ca href=\"https://www.kqed.org/arts/13888379/oakland-artists-join-nigerias-endsars-movement-against-police-violence-from-afar\" rel=\"noopener noreferrer\" target=\"_blank\">Nigeria’s movement against corruption and police brutality\u003c/a>, marked an especially powerful moment as visuals depicting the country’s colonial history flashed on-screen. “Put one fist up and pump that shit because this is protest music,” Burna Boy said. \u003c/p>\n\u003cfigure id=\"attachment_13905589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Brittany-Howard-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Howard performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brittany Howard’s sunset groove\u003c/h2>\n\u003cp>Outside Lands felt like \u003ca href=\"https://www.npr.org/2021/07/01/1010306918/summer-of-soul-questlove-movie-review-harlem-cultural-festival\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Summer of Soul\u003c/em>\u003c/a> during Brittany Howard’s set, which took place at Lands End during the golden hour. Even though Howard performed on the big stage, she managed to convey the relaxed atmosphere of a block party. She and her band took their time to settle into the groove of each track, weaving together elements of R&B, funk and blues as the audience two-stepped along. Howard belted in her low alto, let out high notes in a falsetto and shouted impassioned ad libs in the vein of James Brown as gospel-style backup singers supported her with an angelic chorus. She ended the set with the uplifting track “Give It To Love,” a manifesto about kindness and connection that I’m pretty sure inspired everyone in the audience to do at least one good deed as they continued their day. \u003c/p>\n\u003cfigure id=\"attachment_13905596\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Cam-backstage-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cam backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/mxmtoon-performs-at-Outside-Lands-on-Sunday-Oct.-31-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">mxmtoon performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905611\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-5-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Yves-Tumor-and-Its-Band-perform-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yves Tumor and Its Band perform at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Sofi-Tukker-backstage-at-Outside-Lands-on-Sunday-Oct.-3_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sofi Tukker backstage at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905609\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905617\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905617\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-11-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905613\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Tame-Impala-performs-at-Outside-Lands-on-Sunday-Oct.-31-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tame Impala performs at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905607\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/The-crowd-at-Outside-Lands-on-Sunday-Oct.-31_-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Oct. 31. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","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/13905586/photos-kehlani-tame-impala-bring-a-festive-close-to-outside-lands","authors":["11387"],"categories":["arts_1"],"tags":["arts_10278","arts_1206","arts_1829","arts_1739","arts_13770"],"featImg":"arts_13905597","label":"arts"},"arts_13892295":{"type":"posts","id":"arts_13892295","meta":{"index":"posts_1591205157","site":"arts","id":"13892295","score":null,"sort":[1612555148000]},"guestAuthors":[],"slug":"pass-the-aux-new-tracks-by-gunna-goes-global-daemon-kehlani-ian-kelly-and-nihar","title":"Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar","publishDate":1612555148,"format":"standard","headTitle":"Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/cgBzWvwvWc4\u003c/p>\n\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qNrM3QqTkdQ\u003c/p>\n\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” [aside postid='arts_13891687']\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RkVyo5RRYU0\u003c/p>\n\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/GZagrum0fbQ\u003c/p>\n\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Hit play on our favorite new tracks by Bay Area artists. ","status":"publish","parent":0,"modified":1705019525,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1122},"headData":{"title":"Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar | KQED","description":"Hit play on our favorite new tracks by Bay Area artists. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13892295/pass-the-aux-new-tracks-by-gunna-goes-global-daemon-kehlani-ian-kelly-and-nihar","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cgBzWvwvWc4'\n title='//www.youtube.com/embed/cgBzWvwvWc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qNrM3QqTkdQ'\n title='//www.youtube.com/embed/qNrM3QqTkdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891687","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RkVyo5RRYU0'\n title='//www.youtube.com/embed/RkVyo5RRYU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GZagrum0fbQ'\n title='//www.youtube.com/embed/GZagrum0fbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892295/pass-the-aux-new-tracks-by-gunna-goes-global-daemon-kehlani-ian-kelly-and-nihar","authors":["11387","11491","185","11734"],"categories":["arts_1"],"tags":["arts_1501","arts_10278","arts_831","arts_6129","arts_1829","arts_13240"],"featImg":"arts_13892314","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":""},"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_13874941":{"type":"posts","id":"arts_13874941","meta":{"index":"posts_1591205157","site":"arts","id":"13874941","score":null,"sort":[1581642011000]},"guestAuthors":[],"slug":"a-romantic-bay-area-playlist-for-valentines-day","title":"A Romantic Bay Area Playlist for Valentine's Day","publishDate":1581642011,"format":"standard","headTitle":"A Romantic Bay Area Playlist for Valentine’s Day | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Whether serenading your sweetie, enjoying a night with friends or pampering yourself, Valentine’s Day deserves a good soundtrack. Here, we’ve rounded up 20 Bay Area love songs of the R&B, soul, disco and rap variety.\u003c/p>\n\u003cp>Some selections are newer, like the duet “Best Part” by H.E.R. and Daniel Caesar, the funky “Crush” by Duckwrth, and Rayana Jay’s uptempo R&B track “Love Me Like.” Then, we take it back in time with the disco song “I Need Somebody to Love Tonight” by Sylvester, and wind things down with Darondo’s “Didn’t I” and Tony! Toni! Toné!’s slow jam “Anniversary.”\u003c/p>\n\u003cp>If you need to belt out your emotions, we have you covered with “Love” by Keyshia Cole. And if you’re a player with a softer side, you may appreciate “Cupcake No Fillin” by Trunk Boiz and “What’s Your Zodiac” by the Jacka.\u003c/p>\n\u003cp>Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2xeutqmT58kONmJp5f0z1T\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"These 20 songs, from different genres and generations, are sure to set the mood. ","status":"publish","parent":0,"modified":1705021289,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":185},"headData":{"title":"A Romantic Bay Area Playlist for Valentine's Day | KQED","description":"These 20 songs, from different genres and generations, are sure to set the mood. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874941/a-romantic-bay-area-playlist-for-valentines-day","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether serenading your sweetie, enjoying a night with friends or pampering yourself, Valentine’s Day deserves a good soundtrack. Here, we’ve rounded up 20 Bay Area love songs of the R&B, soul, disco and rap variety.\u003c/p>\n\u003cp>Some selections are newer, like the duet “Best Part” by H.E.R. and Daniel Caesar, the funky “Crush” by Duckwrth, and Rayana Jay’s uptempo R&B track “Love Me Like.” Then, we take it back in time with the disco song “I Need Somebody to Love Tonight” by Sylvester, and wind things down with Darondo’s “Didn’t I” and Tony! Toni! Toné!’s slow jam “Anniversary.”\u003c/p>\n\u003cp>If you need to belt out your emotions, we have you covered with “Love” by Keyshia Cole. And if you’re a player with a softer side, you may appreciate “Cupcake No Fillin” by Trunk Boiz and “What’s Your Zodiac” by the Jacka.\u003c/p>\n\u003cp>Listen below.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/2xeutqmT58kONmJp5f0z1T\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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/13874941/a-romantic-bay-area-playlist-for-valentines-day","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_831","arts_1829","arts_3226","arts_924","arts_1723","arts_3923"],"featImg":"arts_13874945","label":"arts"},"arts_13871739":{"type":"posts","id":"arts_13871739","meta":{"index":"posts_1591205157","site":"arts","id":"13871739","score":null,"sort":[1576717114000]},"guestAuthors":[],"slug":"the-best-bay-area-albums-of-the-2010s","title":"The Best Bay Area Albums of the 2010s","publishDate":1576717114,"format":"aside","headTitle":"The Best Bay Area Albums of the 2010s | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&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>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n","blocks":[],"excerpt":"Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.","status":"publish","parent":0,"modified":1705021644,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":44,"wordCount":2078},"headData":{"title":"The Best Bay Area Albums of the 2010s | KQED","description":"Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13871739/the-best-bay-area-albums-of-the-2010s","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\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>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&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>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\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>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871739/the-best-bay-area-albums-of-the-2010s","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_1501","arts_1588","arts_1118","arts_831","arts_21788","arts_1420","arts_1558","arts_1829","arts_2244","arts_1803","arts_1723","arts_3823","arts_2623","arts_2021","arts_9344","arts_3973"],"featImg":"arts_13933782","label":"arts"},"arts_13848512":{"type":"posts","id":"arts_13848512","meta":{"index":"posts_1591205157","site":"arts","id":"13848512","score":null,"sort":[1547151892000]},"guestAuthors":[],"slug":"kehlani-is-a-queer-cyborg-in-her-new-sci-fi-music-video","title":"Kehlani is a Queer Cyborg in Her New, Sci-Fi Music Video","publishDate":1547151892,"format":"standard","headTitle":"Kehlani is a Queer Cyborg in Her New, Sci-Fi Music Video | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Kehlani’s been pretty busy over the past year with her pregnancy, her healthy-living \u003ca href=\"https://floraliving.com/\" target=\"_blank\" rel=\"noopener\">app\u003c/a> and her \u003cem>Sunday Gems\u003c/em> \u003ca href=\"https://www.hotnewhiphop.com/kehlanis-new-beats1-podcast-sunday-gems-will-discuss-life-love-and-beyond-news.66747.html\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>, but fans have been anxiously awaiting new music since her last album, \u003cem>SweetSexySavage\u003c/em>, in 2017.\u003c/p>\n\u003cp>On Twitter, the Oakland-raised singer has been teasing her upcoming mixtape, and she gave fans a taste Thursday with a new track and music video, “\u003ca href=\"https://www.youtube.com/watch?v=I99qCuWx1mI\" rel=\"noopener\" target=\"_blank\">Nights Like This\u003c/a>,” featuring Ty Dolla $ign. In the sci-fi music video, a cyborg love interest happens upon Kehlani’s doorstep. Serving major mad scientist vibes, Kehlani takes her into her workshop and brings her back to health; the two fall in love, and Kehlani teaches her cute cyborg bae to be human by re-potting houseplants and painting her nails.\u003c/p>\n\u003cp>But as Kehlani sings the refrain, “You was mine but you decided to be with him, though,” things take a dark turn. The cyborg puts her hands on Kehlani’s heart and appears to take over her body. When Kehlani wakes up, she burns her girlfriend’s lifeless body (wait, what?!) and repeats the heart-stealing operation on Ty Dolla $ign when he arrives at her secluded lair to sing his featured verse.\u003c/p>\n\u003cp>Cyborgs have a long history in queer and feminist theory. In 1984, scholar Donna Haraway wrote the essay “A Cyborg Manifesto,” about how cyborgs defy the binary of human and machine. In doing so, they invite us to rethink other dichotomies such as gender, opening a new world of possibilities of how we relate to our identities and sexualities.\u003c/p>\n\u003cp>“The cyborg is a creature in a post-gender world,” Haraway writes.\u003c/p>\n\u003cp>We’ll see how this theme plays out in Kehlani’s new mixtape, which is reportedly coming soon.\u003c/p>\n\u003cp>https://youtu.be/I99qCuWx1mI\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"In feminist theory, cyborgs have a long history of helping humans rethink the gender binary. ","status":"publish","parent":0,"modified":1705026764,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":308},"headData":{"title":"Kehlani is a Queer Cyborg in Her New, Sci-Fi Music Video | KQED","description":"In feminist theory, cyborgs have a long history of helping humans rethink the gender binary. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13848512/kehlani-is-a-queer-cyborg-in-her-new-sci-fi-music-video","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani’s been pretty busy over the past year with her pregnancy, her healthy-living \u003ca href=\"https://floraliving.com/\" target=\"_blank\" rel=\"noopener\">app\u003c/a> and her \u003cem>Sunday Gems\u003c/em> \u003ca href=\"https://www.hotnewhiphop.com/kehlanis-new-beats1-podcast-sunday-gems-will-discuss-life-love-and-beyond-news.66747.html\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a>, but fans have been anxiously awaiting new music since her last album, \u003cem>SweetSexySavage\u003c/em>, in 2017.\u003c/p>\n\u003cp>On Twitter, the Oakland-raised singer has been teasing her upcoming mixtape, and she gave fans a taste Thursday with a new track and music video, “\u003ca href=\"https://www.youtube.com/watch?v=I99qCuWx1mI\" rel=\"noopener\" target=\"_blank\">Nights Like This\u003c/a>,” featuring Ty Dolla $ign. In the sci-fi music video, a cyborg love interest happens upon Kehlani’s doorstep. Serving major mad scientist vibes, Kehlani takes her into her workshop and brings her back to health; the two fall in love, and Kehlani teaches her cute cyborg bae to be human by re-potting houseplants and painting her nails.\u003c/p>\n\u003cp>But as Kehlani sings the refrain, “You was mine but you decided to be with him, though,” things take a dark turn. The cyborg puts her hands on Kehlani’s heart and appears to take over her body. When Kehlani wakes up, she burns her girlfriend’s lifeless body (wait, what?!) and repeats the heart-stealing operation on Ty Dolla $ign when he arrives at her secluded lair to sing his featured verse.\u003c/p>\n\u003cp>Cyborgs have a long history in queer and feminist theory. In 1984, scholar Donna Haraway wrote the essay “A Cyborg Manifesto,” about how cyborgs defy the binary of human and machine. In doing so, they invite us to rethink other dichotomies such as gender, opening a new world of possibilities of how we relate to our identities and sexualities.\u003c/p>\n\u003cp>“The cyborg is a creature in a post-gender world,” Haraway writes.\u003c/p>\n\u003cp>We’ll see how this theme plays out in Kehlani’s new mixtape, which is reportedly coming soon.\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/I99qCuWx1mI'\n title='//www.youtube.com/embed/I99qCuWx1mI'\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>\u003cbr />\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848512/kehlani-is-a-queer-cyborg-in-her-new-sci-fi-music-video","authors":["11387"],"categories":["arts_69"],"tags":["arts_1829","arts_3797"],"featImg":"arts_13848522","label":"arts"},"arts_13830316":{"type":"posts","id":"arts_13830316","meta":{"index":"posts_1591205157","site":"arts","id":"13830316","score":null,"sort":[1524754807000]},"guestAuthors":[],"slug":"kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it","title":"Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It","publishDate":1524754807,"format":"image","headTitle":"Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\u003c/p>\n\u003cp>https://youtu.be/TdyllLZeviY\u003c/p>\n\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\u003c/p>\n\u003cp>https://youtu.be/_wVB6pfWwnE\u003c/p>\n\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Oakland-raised singer's declaration of queer identity is paving the way for others to be themselves. ","status":"publish","parent":0,"modified":1705027997,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":745},"headData":{"title":"Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It | KQED","description":"The Oakland-raised singer's declaration of queer identity is paving the way for others to be themselves. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\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/TdyllLZeviY'\n title='//www.youtube.com/embed/TdyllLZeviY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\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 love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\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/_wVB6pfWwnE'\n title='//www.youtube.com/embed/_wVB6pfWwnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it","authors":["11387"],"categories":["arts_69","arts_75"],"tags":["arts_1118","arts_1829","arts_3226","arts_596","arts_925","arts_4640"],"featImg":"arts_13830511","label":"arts"},"arts_13824316":{"type":"posts","id":"arts_13824316","meta":{"index":"posts_1591205157","site":"arts","id":"13824316","score":null,"sort":[1518562842000]},"guestAuthors":[],"slug":"playlist-new-bay-area-love-songs","title":"Playlist: New Bay Area Love Songs","publishDate":1518562842,"format":"standard","headTitle":"Playlist: New Bay Area Love Songs | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Valentine’s Day can be cheesy, but KQED Arts’ playlist of new Bay Area love songs is anything but. These 10 tracks are full of smooth grooves and sexy rhythms to get your Feb. 14 going right — whether you’re hanging out with your boo or dancing alone in your room.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2017/08/30/pop-music-is-mostly-ignoring-rbs-women-of-color-and-it-totally-sucks/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> is adorably head-over-heels with her lady in the stripped-down, acoustic “Honey.” Meanwhile, \u003ca href=\"https://soundcloud.com/tianomore\" target=\"_blank\" rel=\"noopener\">Tia Nomore\u003c/a> spits game on the ’90s freestyle-inspired banger “Beggin’ (Remix),” also featuring Felicia Douglass and Studio Dad. \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som\u003c/a> charms on the low-key indie rock jam “I Think You’re Alright,” and producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> raps on his disco track “Start Things New,” which — refreshingly — is about approaching love from a place of openness and honesty.\u003c/p>\n\u003cp>Stream below and tell us your favorite song in the comments. And if you still need a valentine to give to your date, check out this year’s batch of our original \u003ca href=\"https://ww2.kqed.org/arts/2018/02/12/bay-area-themed-valentines-for-2018-from-sf-with-love/\" target=\"_blank\" rel=\"noopener\">Bay Area valentines\u003c/a> here.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Aga2ldjo713dvtkdfxiik0wai6%3Aplaylist%3A4QtaXwBQ0WP9CABwY8OT2t\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Smooth sounds and sexy rhythms from emerging Bay Area rap, R&B, and electronic artists. ","status":"publish","parent":0,"modified":1705028519,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":183},"headData":{"title":"Playlist: New Bay Area Love Songs | KQED","description":"Smooth sounds and sexy rhythms from emerging Bay Area rap, R&B, and electronic artists. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13824316/playlist-new-bay-area-love-songs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valentine’s Day can be cheesy, but KQED Arts’ playlist of new Bay Area love songs is anything but. These 10 tracks are full of smooth grooves and sexy rhythms to get your Feb. 14 going right — whether you’re hanging out with your boo or dancing alone in your room.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/2017/08/30/pop-music-is-mostly-ignoring-rbs-women-of-color-and-it-totally-sucks/\" target=\"_blank\" rel=\"noopener\">Kehlani\u003c/a> is adorably head-over-heels with her lady in the stripped-down, acoustic “Honey.” Meanwhile, \u003ca href=\"https://soundcloud.com/tianomore\" target=\"_blank\" rel=\"noopener\">Tia Nomore\u003c/a> spits game on the ’90s freestyle-inspired banger “Beggin’ (Remix),” also featuring Felicia Douglass and Studio Dad. \u003ca href=\"https://ww2.kqed.org/arts/2016/07/25/jay-som-and-the-transformation-of-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som\u003c/a> charms on the low-key indie rock jam “I Think You’re Alright,” and producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> raps on his disco track “Start Things New,” which — refreshingly — is about approaching love from a place of openness and honesty.\u003c/p>\n\u003cp>Stream below and tell us your favorite song in the comments. And if you still need a valentine to give to your date, check out this year’s batch of our original \u003ca href=\"https://ww2.kqed.org/arts/2018/02/12/bay-area-themed-valentines-for-2018-from-sf-with-love/\" target=\"_blank\" rel=\"noopener\">Bay Area valentines\u003c/a> here.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Auser%3Aga2ldjo713dvtkdfxiik0wai6%3Aplaylist%3A4QtaXwBQ0WP9CABwY8OT2t\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\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/13824316/playlist-new-bay-area-love-songs","authors":["11387"],"categories":["arts_69"],"tags":["arts_1118","arts_831","arts_1829","arts_596","arts_1723","arts_1983"],"featImg":"arts_13824372","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. 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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. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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