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"content": "\u003cp>Thirty years ago this month, \u003cem>Madonna: Truth or Dare\u003c/em> was released to much fanfare. The documentary—part concert movie, part backstage exposé—captured the singer’s 1990 Blond Ambition world tour. It would be the highest grossing documentary of all time for the next 12 years.\u003c/p>\n\u003cp>Today, \u003cem>Truth or Dare\u003c/em> stands as a feminist moment awkwardly sandwiched between its second and third waves. At the same time, the movie is probably most remembered for its strides toward gay visibility. The film presented Madonna’s touring crew as one big, (usually) happy family. And because all but one of her dancers were gay, same-sex relationships were presented in the film as just the same as everyone else’s. In 1991, in the midst of the AIDS crisis, the impact of that cannot be overstated.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NSZeyJPQT2A\u003c/p>\n\u003cp>It wasn’t just Madonna’s relationships with her dancers, either. At one genuinely vulnerable point, she is seen dedicating a concert to \u003ca href=\"http://www.newnownext.com/keith-haring-birthday-60-madonna-brooke-shields/05/2018/\" target=\"_blank\" rel=\"noopener noreferrer\">her friend Keith Haring\u003c/a>, who had recently lost his life to AIDS-related complications. Later, we see her lunching with her friend Sandra Bernhard, as the two casually discuss the woman Bernhard is sleeping with.\u003c/p>\n\u003cp>As one of the biggest pop stars in the world at the time, Madonna’s example mattered. She knew it, and so did Alek Keshishian, her 26-year-old director. “I was in this bubble where that was just all accepted,” \u003ca href=\"https://www.nytimes.com/2016/08/26/arts/music/madonna-truth-or-dare-alek-keshishian.html\" target=\"_blank\" rel=\"noopener noreferrer\">Keshishian told the \u003cem>New York Times\u003c/em>\u003c/a> in 2016. “I felt instinctively that I wanted to get across how in Madonna’s world, homosexuality was just a fact of life. These dancers, who she felt so close to, they were going through that age of AIDS. There was still so much stigma against it. I felt personally the power of putting that out, but I had no idea that it might resonate with others quite the way it did.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>[aside postid='arts_13915838']That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>[aside postid='pop_112976']At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2016, \u003cem>Huffington Post\u003c/em>‘s \u003ca href=\"https://www.huffpost.com/entry/madonnas-groundbreaking-t_b_9238490\" target=\"_blank\" rel=\"noopener noreferrer\">Daryl Deino wrote\u003c/a> about the impact \u003cem>Truth or Dare\u003c/em> had on him as a closeted young man in Skokie, Illinois.\u003c/p>\n\u003cblockquote>\u003cp>[There] was a scene of a gay pride parade—something I had never seen before … Madonna’s dancers stand in the sidelines while people march, screaming, ‘We’re here. We’re queer. Get used to it!‘ There are all types of people … ‘Even I could fit in there,’ I thought. That moment changed my life … Madonna’s dancers were now my heroes. They let me know that it was okay to be different. Even if you are a part of the LGBT community, you wouldn’t understand what I felt unless you lived through the ‘80s or early ‘90s as a teenager.\u003c/p>\u003c/blockquote>\n\u003cp>It’s important to acknowledge in 2021 just how crucial the documentary was at the time. Because for audiences watching now who didn’t live through the era, there is much in \u003cem>Truth or Dare\u003c/em> to be offended by.\u003c/p>\n\u003cp>For one, the movie is riddled with gay slurs. It’s impossible not to flinch now, watching Madonna drop so many ‘F’ bombs. At one point, she tells one of her dancers, “I wouldn’t hire fags that hate women. I kill fags that hate women. In fact, I kill anybody who hates women.” Cringeworthy though it is, the scene is a reflection of the ‘90s as a period of reclaiming historically hostile language, and a reminder that allies at the time were permitted to do the same. (By the end of the decade, even the ladies of \u003cem>Sex and the City\u003c/em> were using the other ‘F’ word.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That outburst is especially tough to sit through after scenes in which the one straight dancer Madonna has hired appears to hate gay men. “It’s my first time working with fags,” Oliver Crumes tells the camera. “Have you ever seen [dancer] Luis [Camacho] walk in his underwear in front of just a whole bunch of people? I don’t have no kind of respect for these people. We know he’s a fag, or gay, or whatever you wanna call it. But you don’t have to show it to everybody.”\u003c/p>\n\u003cp>Crumes \u003ca href=\"https://www.vulture.com/2021/05/madonna-truth-or-dare-oral-history.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently admitted to \u003cem>Vulture\u003c/em>\u003c/a>: “Before the tour started, I was homophobic. I wasn’t all with it. Learning from all the guys what their lives were like when they were young was just mind-blowing. If it wasn’t for Madonna and that tour, I would never have got that experience.”\u003c/p>\n\u003cp>In the same interview, backing vocalist Donna DeLory stands by the movie as one that empowers women. “My daughter is 18,” she says, “and in this day and age, she watches that movie and sees nothing but strength. She sees a role model. To be around a woman like Madonna was just like, ‘Yes!’ We felt taken care of.”\u003c/p>\n\u003cp>It’s true that, for the most part, the Madonna we see in \u003cem>Truth or Dare\u003c/em> is powerful, always in control, and astoundingly disciplined with her work ethic. She goes far above and beyond the 21st century idea of leaning in. But the way she handles a sexual assault, mid-tour, is jaw-dropping to witness in the post-#MeToo age. After one of her makeup artists, Sharon Gault, is attacked in New York City, the only member of the crew who seems appropriately concerned is dancer Carlton Wilborn.\u003c/p>\n\u003cp>“She was at the club dancing,” Wilborn tells Madonna, backstage. “The next thing she knew was that she woke up in her room nude, and her stuff was stolen, and she went to the bathroom and her butt was bleeding.” Madonna responds by covering her face, nervously laughing, then offering an explainer.\u003c/p>\n\u003cp>“I don’t know how you wouldn’t remember something like that,” she says. “They drugged her ass. All I can think of is that she started talking about how she was on tour with me, she’s staying at the Ritz Carlton and those guys, whoever they were, got it in their mind that they were going to fuck with her.”\u003c/p>\n\u003cp>Juxtaposed with the scene between Madonna and Wilborn is one in which Gault relays her experience. “I never thought that something like that would ever happen to me,” a visibly shellshocked Gault tells DeLory and fellow backing vocalist, Niki Haris. “It was a nice club. It was really nice. And there were nice people there, and I was dancing with these boys. I was totally sober … And then next thing I know, I wake up this morning. I’m never going to go out by myself again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At no point does anyone attempt to contact police, or the club at which Gault was drugged, or get medical or therapeutic assistance for her. The assault is treated as simply a hazard of being naive in New York City, and a particularly harsh life lesson. For anyone still wondering why so many of Harvey Weinstein’s and Bill Cosby’s accusers didn’t come forward sooner, this moment in \u003cem>Truth or Dare\u003c/em> stands as an efficient explainer.\u003c/p>\n\u003cp>The legacy of \u003cem>Truth or Dare\u003c/em> is further complicated by the fact that three dancers—Crumes, Gabriel Trupin and Kevin Stea—sued Madonna in 1992 over the film, in part, for invasion of privacy. The three had not wanted certain scenes included in the film, and felt they had not been adequately compensated for their contributions. The case was settled out of court in 1994. This year, Stea told \u003cem>Vulture\u003c/em>, “The choice I made to do the lawsuit was literally because I said, ‘What would she do? She would fight for herself’ … She kept telling me, ‘Don’t let people take advantage of you.’”\u003c/p>\n\u003cp>When all is said and done, \u003cem>Truth or Dare\u003c/em> may not be perfect, but it \u003cem>is\u003c/em> a perfect snapshot of early 1990s culture, messy though it was. Its status as a groundbreaking work of both female and LGBT empowerment is certainly warranted, despite how 2021 audiences might react to the language and attitudes caught on camera. That three of the dancers featured—Wilborn, Trupin and Salim Gauwloos— were, unbeknownst to audiences, living with HIV or AIDS at the time of filming only serves to give the film added poignancy. (San Francisco resident \u003ca href=\"https://www.sfgate.com/news/article/OBITUARY-Gabriel-Trupin-3017397.php\" target=\"_blank\" rel=\"noopener noreferrer\">Trupin\u003c/a> died just five years after appearing in \u003cem>Truth or Dare\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Alek’s particular vision really paid tribute to gay culture,” dancer Kevin Stea noted this year. “Being gay himself and sharing the humanity of our community is what gave this movie long-lasting legs, and power, and iconic status.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Two Moms’ Lullaby For Their Unborn Daughter Celebrates Their Family Story",
"headTitle": "Two Moms’ Lullaby For Their Unborn Daughter Celebrates Their Family Story | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Shonnece Hill and Elizabeth Cheeves first started working on their lullaby while they were on a road trip. The San Francisco couple and expecting parents were collaborating by phone with musician \u003ca href=\"http://www.cavamenzies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cava Menzies \u003c/a>to create a special song for their unborn daughter. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The connection on the freeway was super spotty. But d\u003c/span>espite the technical challenges, the trio swiftly managed to get into the songwriting zone.\u003c/p>\n\u003cp>First, Hill and Cheeves shared some lyrics over the phone (“We want you to know that two moms are better than no moms”) while Menzies took notes in her Oakland studio. Then, Menzies threw down a couple of R&B-laced piano chords; Hill in particular is a big fan of the genre. The trio traded ideas back and forth for a while. And in less than an hour, they had the makings of their catchy new song.\u003c/p>\n\u003cp>“I know I’m going to be singing this song,” Cheeves said. “I’m gonna put it on YouTube!”\u003c/p>\n\u003cp>“It’s a hit already!” Menzies said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stori's Song by Shannece, Liz & Cava\" src=\"https://player.vimeo.com/video/529186912?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>This small musical jewel is one of a bunch of songs to have come out of \u003ca href=\"https://www.noemusic.org/projects\" target=\"_blank\" rel=\"noopener noreferrer\">The Lullaby Project\u003c/a> so far this year. The \u003ca href=\"https://www.carnegiehall.org/Education/Programs/Lullaby-Project\" target=\"_blank\" rel=\"noopener noreferrer\">national program\u003c/a>, new to the Bay Area and run under the auspices of San Francisco music presenter \u003ca href=\"https://www.noemusic.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Noe Music\u003c/a>, pairs unhoused and low-income caregivers with professional musicians to write a lullaby for their unborn or new babies.\u003c/p>\n\u003cp>“It helps you channel the energy into the positive, into the hopes and dreams for the future, as opposed to focusing on what is so hard right now,” said San Francisco-based project director Meena Bhasin, who first became involved with the initiative around the time it was founded a decade ago at Carnegie Hall in New York.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bhasin said the COVID-19 pandemic created an even greater sense of urgency for launching the program here in the Bay Area.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>“We thought, why wait, let’s do this now when mothers are really isolated and really need it,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13896697\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-800x1198.jpg\" alt=\"\" width=\"800\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-scaled.jpg 1709w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lullaby Project director Meena Bhasin and her baby Knight. \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Bhasin partnered with the \u003ca href=\"http://www.homelessprenatal.org/about/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Homeless Prenatal Program\u003c/a> (HPP), a local nonprofit, to find participants. \u003c/span>\u003c/p>\n\u003cp>“In addition to social connection, families feel heard because this is a project that they are leading,” said \u003cspan style=\"font-weight: 400\">HPP program manager Guadalupe Valenzuela. “\u003c/span>Their voice matters.”\u003c/p>\n\u003cp>Menzies, the musician who worked with the couple, said participating in the Lullaby Project renewed her sense of human connection after more than a year of insular living during the pandemic.\u003c/p>\n\u003cp>“To be able to do something that creates a bridge between strangers is really amazing,” Menzies said. “And I got to discover something new through their story.”\u003c/p>\n\u003cp>“Story” is a word that figures prominently in the lullaby that Menzies co-wrote with Hill and Cheeves. It’s not for nothing that the couple named their unborn daughter Stori.\u003c/p>\n\u003cp>“Stori with an ‘i’ instead of a ‘y,’” said Hill. “And this \u003cem>is\u003c/em> a story. We have so much to tell.”\u003c/p>\n\u003cp>Speaking from their home in San Francisco’s Mission District a couple of weeks after completing their lullaby, Hill and Cheeves shared their story.\u003c/p>\n\u003cp>The couple are both in their early 30s. Cheeves said they first met when they were kids growing up in the Western Addition.\u003c/p>\n\u003cp>“I knew Shonnece since I was 14 years old, and I always wanted to be with her,” Hill said. “But we never really got the chance to be with each other.”\u003c/p>\n\u003cp>For many years, they stayed in contact but lived separate lives. Hill has a son, Jah’vion, who’s nine, from a previous relationship, and Cheeves co-parents her adopted five-year-old, Benjamin, with a cousin. (The boys get a mention in the lullaby with the lyric: “Two brothers are waiting for you / The three of you stuck like glue.”)\u003c/p>\n\u003cp>Then one day six years ago, Cheeves said she and Hill ran into each other at a gas station, fell into a long conversation and realized their feelings for each other ran deep. [aside postid='arts_13896487']\u003c/p>\n\u003cp>“So we got with each other, then we got engaged in 2018,” Cheeves said. “And now we’re here.”\u003c/p>\n\u003cp>In the song, Hill talks about the joy of being able to conceive as LGBTQ parents. (“The way you were conceived was so wonderful and beautiful / You can always count on me to be in your corner.”)\u003c/p>\n\u003cp>But she admitted bringing a new life into the world has been far from easy.\u003c/p>\n\u003cp>“We went all the way broke to pay for the baby,” Hill said.\u003c/p>\n\u003cp>IVF costs tens of thousands of dollars. Hill and Cheeves were already struggling to figure out how to pay the bill when the pandemic hit. And then they both lost their jobs. Grants were scarce. The couple said they couldn’t get loans because their credit wasn’t good enough. And to top it all, Hill was in a custody battle over her son.\u003c/p>\n\u003cp>“This has been a crazy time,” Hill said. “Crazy.”\u003c/p>\n\u003cp>Things are getting better, though.\u003c/p>\n\u003cp>Cheeves got a new job—she works in construction—and Hill won full custody of Jah’vion. The song’s chorus, with its easy-going groove and optimistic lyrics (“Honey to my bees / My shining star / Our blessing / My gift from God / Our Stori / Our Stori / Our blessing / Our gift from God”) captures the couple’s excitement about the new chapter opening up in their narrative.\u003c/p>\n\u003cp>In this part of the song, Cheeves can be heard singing along with musician Menzies, and Hill’s voice can be heard reciting some lyrics near the start. Parents aren’t required to perform the songs they write as part of The Lullaby Project. But Cheeves and Hill both really love music and they want their daughter to take the song to heart.\u003c/p>\n\u003cp>“I wanted her to hear my voice on there and know we both made this song for her,” Cheeves said.\u003c/p>\n\u003cp>“It’ll be stuck in her head because we’re going to play this for her a lot!” added Hill. [aside postid='arts_13887635']\u003c/p>\n\u003cp>Menzies, who’s a mom herself, said “Stori’s Song” and the real-life story behind it expand notions of what a lullaby can be.\u003c/p>\n\u003cp>“The idea that lullabies have to be slow and in a particular way sort of reminds me of that stereotypical messaging that we get about what it means to be a mother and what the first musical soundtrack should sound like in life,” Menzies said. “And the truth is that everyone has these different stories.”\u003c/p>\n\u003cp>Baby Stori is due in early June. Menzies said she can’t wait to meet her in person.\u003c/p>\n\u003cp>“I want to be able to be in the room with Shonnece and Liz and their two boys with Stori and listen to this song,” said the musician. “That would mean the world to me.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, Stori’s parents said they plan to play the song at their baby shower. Menzies is on the guest list.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Shonnece Hill and Elizabeth Cheeves first started working on their lullaby while they were on a road trip. The San Francisco couple and expecting parents were collaborating by phone with musician \u003ca href=\"http://www.cavamenzies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cava Menzies \u003c/a>to create a special song for their unborn daughter. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The connection on the freeway was super spotty. But d\u003c/span>espite the technical challenges, the trio swiftly managed to get into the songwriting zone.\u003c/p>\n\u003cp>First, Hill and Cheeves shared some lyrics over the phone (“We want you to know that two moms are better than no moms”) while Menzies took notes in her Oakland studio. Then, Menzies threw down a couple of R&B-laced piano chords; Hill in particular is a big fan of the genre. The trio traded ideas back and forth for a while. And in less than an hour, they had the makings of their catchy new song.\u003c/p>\n\u003cp>“I know I’m going to be singing this song,” Cheeves said. “I’m gonna put it on YouTube!”\u003c/p>\n\u003cp>“It’s a hit already!” Menzies said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stori's Song by Shannece, Liz & Cava\" src=\"https://player.vimeo.com/video/529186912?dnt=1&app_id=122963\" width=\"500\" height=\"281\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\">\u003c/iframe>\u003c/p>\n\u003cp>This small musical jewel is one of a bunch of songs to have come out of \u003ca href=\"https://www.noemusic.org/projects\" target=\"_blank\" rel=\"noopener noreferrer\">The Lullaby Project\u003c/a> so far this year. The \u003ca href=\"https://www.carnegiehall.org/Education/Programs/Lullaby-Project\" target=\"_blank\" rel=\"noopener noreferrer\">national program\u003c/a>, new to the Bay Area and run under the auspices of San Francisco music presenter \u003ca href=\"https://www.noemusic.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Noe Music\u003c/a>, pairs unhoused and low-income caregivers with professional musicians to write a lullaby for their unborn or new babies.\u003c/p>\n\u003cp>“It helps you channel the energy into the positive, into the hopes and dreams for the future, as opposed to focusing on what is so hard right now,” said San Francisco-based project director Meena Bhasin, who first became involved with the initiative around the time it was founded a decade ago at Carnegie Hall in New York.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Bhasin said the COVID-19 pandemic created an even greater sense of urgency for launching the program here in the Bay Area.\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>\u003c/b>\u003c/p>\n\u003cp>“We thought, why wait, let’s do this now when mothers are really isolated and really need it,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13896697\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-800x1198.jpg\" alt=\"\" width=\"800\" height=\"1198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-1367x2048.jpg 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/RS48883_Meena-Bhasin-and-Knight-by-Alessandra-Mello-qut-scaled.jpg 1709w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lullaby Project director Meena Bhasin and her baby Knight. \u003ccite>(Alessandra Mello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">So Bhasin partnered with the \u003ca href=\"http://www.homelessprenatal.org/about/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Homeless Prenatal Program\u003c/a> (HPP), a local nonprofit, to find participants. \u003c/span>\u003c/p>\n\u003cp>“In addition to social connection, families feel heard because this is a project that they are leading,” said \u003cspan style=\"font-weight: 400\">HPP program manager Guadalupe Valenzuela. “\u003c/span>Their voice matters.”\u003c/p>\n\u003cp>Menzies, the musician who worked with the couple, said participating in the Lullaby Project renewed her sense of human connection after more than a year of insular living during the pandemic.\u003c/p>\n\u003cp>“To be able to do something that creates a bridge between strangers is really amazing,” Menzies said. “And I got to discover something new through their story.”\u003c/p>\n\u003cp>“Story” is a word that figures prominently in the lullaby that Menzies co-wrote with Hill and Cheeves. It’s not for nothing that the couple named their unborn daughter Stori.\u003c/p>\n\u003cp>“Stori with an ‘i’ instead of a ‘y,’” said Hill. “And this \u003cem>is\u003c/em> a story. We have so much to tell.”\u003c/p>\n\u003cp>Speaking from their home in San Francisco’s Mission District a couple of weeks after completing their lullaby, Hill and Cheeves shared their story.\u003c/p>\n\u003cp>The couple are both in their early 30s. Cheeves said they first met when they were kids growing up in the Western Addition.\u003c/p>\n\u003cp>“I knew Shonnece since I was 14 years old, and I always wanted to be with her,” Hill said. “But we never really got the chance to be with each other.”\u003c/p>\n\u003cp>For many years, they stayed in contact but lived separate lives. Hill has a son, Jah’vion, who’s nine, from a previous relationship, and Cheeves co-parents her adopted five-year-old, Benjamin, with a cousin. (The boys get a mention in the lullaby with the lyric: “Two brothers are waiting for you / The three of you stuck like glue.”)\u003c/p>\n\u003cp>Then one day six years ago, Cheeves said she and Hill ran into each other at a gas station, fell into a long conversation and realized their feelings for each other ran deep. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So we got with each other, then we got engaged in 2018,” Cheeves said. “And now we’re here.”\u003c/p>\n\u003cp>In the song, Hill talks about the joy of being able to conceive as LGBTQ parents. (“The way you were conceived was so wonderful and beautiful / You can always count on me to be in your corner.”)\u003c/p>\n\u003cp>But she admitted bringing a new life into the world has been far from easy.\u003c/p>\n\u003cp>“We went all the way broke to pay for the baby,” Hill said.\u003c/p>\n\u003cp>IVF costs tens of thousands of dollars. Hill and Cheeves were already struggling to figure out how to pay the bill when the pandemic hit. And then they both lost their jobs. Grants were scarce. The couple said they couldn’t get loans because their credit wasn’t good enough. And to top it all, Hill was in a custody battle over her son.\u003c/p>\n\u003cp>“This has been a crazy time,” Hill said. “Crazy.”\u003c/p>\n\u003cp>Things are getting better, though.\u003c/p>\n\u003cp>Cheeves got a new job—she works in construction—and Hill won full custody of Jah’vion. The song’s chorus, with its easy-going groove and optimistic lyrics (“Honey to my bees / My shining star / Our blessing / My gift from God / Our Stori / Our Stori / Our blessing / Our gift from God”) captures the couple’s excitement about the new chapter opening up in their narrative.\u003c/p>\n\u003cp>In this part of the song, Cheeves can be heard singing along with musician Menzies, and Hill’s voice can be heard reciting some lyrics near the start. Parents aren’t required to perform the songs they write as part of The Lullaby Project. But Cheeves and Hill both really love music and they want their daughter to take the song to heart.\u003c/p>\n\u003cp>“I wanted her to hear my voice on there and know we both made this song for her,” Cheeves said.\u003c/p>\n\u003cp>“It’ll be stuck in her head because we’re going to play this for her a lot!” added Hill. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Menzies, who’s a mom herself, said “Stori’s Song” and the real-life story behind it expand notions of what a lullaby can be.\u003c/p>\n\u003cp>“The idea that lullabies have to be slow and in a particular way sort of reminds me of that stereotypical messaging that we get about what it means to be a mother and what the first musical soundtrack should sound like in life,” Menzies said. “And the truth is that everyone has these different stories.”\u003c/p>\n\u003cp>Baby Stori is due in early June. Menzies said she can’t wait to meet her in person.\u003c/p>\n\u003cp>“I want to be able to be in the room with Shonnece and Liz and their two boys with Stori and listen to this song,” said the musician. “That would mean the world to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, Stori’s parents said they plan to play the song at their baby shower. Menzies is on the guest list.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the live music scene comes back to life in the Bay Area, rock festival \u003ca href=\"https://www.eventbrite.com/e/mosswood-meltdown-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a> has announced a return in Oakland in July 2022 with Bikini Kill as headliners.\u003c/p>\n\u003cp>[aside postid='arts_13883674']The legendary riot grrrl band \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">reunited\u003c/a> in 2019 after a 22-year break, prompting happy tears from fans who grew up on their proudly feminist punk rock in the ’90s. Oakland’s own Shannon Shaw joins Bikini Kill on the bill with her blend of punk, soul and country, and multi-hyphenate author, dancer and musician Brontez Purnell will perform as well.\u003c/p>\n\u003cp>[UPDATE, Feb. 16: Kim Gordon, the Linda Lindas and more have been added to the festival. Full lineup below.]\u003c/p>\n\u003cp>This edition marks the festival’s first year since 2019; while on hiatus due to the pandemic in 2020, organizers changed its name from Burger Boogaloo after \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">cutting ties\u003c/a> with Burger Records. The change was part of the fallout surrounding the Southern California music label after numerous women, including some prominent artists, accused its musicians of grooming and sexual abuse.\u003c/p>\n\u003cp>Shortly afterward, Burger Records attempted to rebrand by hiring a woman as its interim president and announcing an all-female imprint called BRGRRRL. But the move didn’t go over well with its detractors, and the label disbanded last summer. Meanwhile, Total Trash Productions, the producer of the festival, denounced the label and clarified that it was only affiliated with the event in name.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13897650']In its announcement of Mosswood Meltdown, Total Trash Productions issued a statement acknowledging this fraught history. “While Total Trash Productions has always independently produced the festival and Burger Records only played a promotional role, we do not want to discount the problems of safety and inclusion that have plagued the music scene for far too long,” they wrote. “Instead, we would like to be part of the solution. We are committed to becoming a leader in event safety and are working to expand our policies beyond the accepted standards.”\u003c/p>\n\u003cp>Organizers said their safety plan will be announced in the coming months, and in the meantime they’re soliciting community feedback at safety@totaltrashproductions.com.\u003c/p>\n\u003cp>The full daily lineup:\u003c/p>\n\u003cp>\u003cstrong>July 2\u003c/strong>\u003cbr>\nKim Gordon, The Dirtbombs, Shannon Shaw, Bleached, Flipper, Twompsax, Carbonas, SNõõPER, Rubinoos\u003c/p>\n\u003cp>\u003cstrong>July 3\u003c/strong>\u003cbr>\nBikini Kill, Hunx and His Punx, Pansy Division, The Linda Lindas, The Fevers, Podium, Brontez Purnell, Fatty Cakes and the Puff Pastries\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mosswood Meltdown takes place July 2–3, 2022, in Mosswood Park with John Waters as host. \u003ca href=\"https://www.eventbrite.com/e/mosswood-meltdown-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the live music scene comes back to life in the Bay Area, rock festival \u003ca href=\"https://www.eventbrite.com/e/mosswood-meltdown-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Mosswood Meltdown\u003c/a> has announced a return in Oakland in July 2022 with Bikini Kill as headliners.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The legendary riot grrrl band \u003ca href=\"https://www.kqed.org/arts/13855938/watch-bikini-kills-first-reunion-show-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">reunited\u003c/a> in 2019 after a 22-year break, prompting happy tears from fans who grew up on their proudly feminist punk rock in the ’90s. Oakland’s own Shannon Shaw joins Bikini Kill on the bill with her blend of punk, soul and country, and multi-hyphenate author, dancer and musician Brontez Purnell will perform as well.\u003c/p>\n\u003cp>[UPDATE, Feb. 16: Kim Gordon, the Linda Lindas and more have been added to the festival. Full lineup below.]\u003c/p>\n\u003cp>This edition marks the festival’s first year since 2019; while on hiatus due to the pandemic in 2020, organizers changed its name from Burger Boogaloo after \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">cutting ties\u003c/a> with Burger Records. The change was part of the fallout surrounding the Southern California music label after numerous women, including some prominent artists, accused its musicians of grooming and sexual abuse.\u003c/p>\n\u003cp>Shortly afterward, Burger Records attempted to rebrand by hiring a woman as its interim president and announcing an all-female imprint called BRGRRRL. But the move didn’t go over well with its detractors, and the label disbanded last summer. Meanwhile, Total Trash Productions, the producer of the festival, denounced the label and clarified that it was only affiliated with the event in name.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In its announcement of Mosswood Meltdown, Total Trash Productions issued a statement acknowledging this fraught history. “While Total Trash Productions has always independently produced the festival and Burger Records only played a promotional role, we do not want to discount the problems of safety and inclusion that have plagued the music scene for far too long,” they wrote. “Instead, we would like to be part of the solution. We are committed to becoming a leader in event safety and are working to expand our policies beyond the accepted standards.”\u003c/p>\n\u003cp>Organizers said their safety plan will be announced in the coming months, and in the meantime they’re soliciting community feedback at safety@totaltrashproductions.com.\u003c/p>\n\u003cp>The full daily lineup:\u003c/p>\n\u003cp>\u003cstrong>July 2\u003c/strong>\u003cbr>\nKim Gordon, The Dirtbombs, Shannon Shaw, Bleached, Flipper, Twompsax, Carbonas, SNõõPER, Rubinoos\u003c/p>\n\u003cp>\u003cstrong>July 3\u003c/strong>\u003cbr>\nBikini Kill, Hunx and His Punx, Pansy Division, The Linda Lindas, The Fevers, Podium, Brontez Purnell, Fatty Cakes and the Puff Pastries\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mosswood Meltdown takes place July 2–3, 2022, in Mosswood Park with John Waters as host. \u003ca href=\"https://www.eventbrite.com/e/mosswood-meltdown-tickets-65083832495\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Daily Lineups Announced; Single-Day Tickets on Sale Thursday",
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"content": "\u003cp>Outside Lands \u003ca href=\"https://www.kqed.org/arts/13894172/outside-lands-scheduled-to-return-on-halloween-weekend\" rel=\"noopener noreferrer\" target=\"_blank\">returns\u003c/a> to Golden Gate Park in October, and daily lineups have been announced. \u003c/p>\n\u003cp>The Strokes and Tyler the Creator headline Friday; Lizzo, Vampire Weekend and Young Thug headline Saturday; and Tame Impala, J Balvin and Kehlani headline Sunday. A full lineup broken down by day is below. \u003c/p>\n\u003cp>Single-day tickets, starting at $165 each, \u003ca href=\"https://www.sfoutsidelands.com/tickets/\" rel=\"noopener noreferrer\" target=\"_blank\">go on sale Thursday\u003c/a>, April 29, at 10am. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/OLByDay-1020x1127.jpg\" alt=\"\" width=\"640\" height=\"707\" class=\"aligncenter size-large wp-image-13896368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/OLByDay-1020x1127.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/OLByDay-800x884.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/OLByDay-160x177.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/OLByDay-768x848.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/OLByDay-1391x1536.jpg 1391w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/OLByDay.jpg 1800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Digital Underground's Shock G, an Oakland Hip-Hop Icon, Dies at 57",
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"content": "\u003cp>Shock G, the flamboyant, funny rap artist who brought Oakland hip-hop to a worldwide audience with the group Digital Underground, died Thursday at age 57, according to Digital Underground co-founder \u003ca href=\"https://www.instagram.com/p/CN_QDs7sayF/\" rel=\"noopener noreferrer\" target=\"_blank\">Chopmaster J\u003c/a>. \u003c/p>\n\u003cp>The cause of death is unknown. According to \u003ca href=\"https://www.tmz.com/2021/04/22/shock-g-dead-dies-digital-underground-humpty-dance-tupac/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>, Shock G was found dead in a hotel room in Tampa, with no signs of trauma.\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_QDs7sayF/\u003c/p>\n\u003cp>Shock G, born Greg Jacobs, was best-known for his work with Digital Underground, most notably the worldwide smash “The Humpty Dance,” released in 1990. Carried by Jacobs’ large-nosed persona, the song brought a swampy West Coast funk and dozens of comic one-liners to the national airwaves. The “Humpty Dance” video, filmed at Club Townsend in San Francisco, played in heavy rotation on MTV and VH1 for months during the cable networks’ heyday. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PBsjggc5jHM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\n\u003cp>https://twitter.com/E40/status/1385419121198702593\u003c/p>\n\u003cp>https://twitter.com/Bootsy_Collins/status/1385409370532548609\u003c/p>\n\u003cp>https://twitter.com/SheilaEdrummer/status/1385415157178765317\u003c/p>\n\u003cp>https://twitter.com/JheneAiko/status/1385414176944779264\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_V-xMHPPM/\u003c/p>\n\u003cp>https://twitter.com/Passionweiss/status/1385397407437914114\u003c/p>\n\u003cp>https://twitter.com/2PAC/status/1385407941495300102\u003c/p>\n\u003cp>https://twitter.com/harikondabolu/status/1385416577668063239\u003c/p>\n\u003cp>https://twitter.com/fakeshoredrive/status/1385394592795742208\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/danamo/status/1385406865463414787\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\u003c/p>\u003c/div>",
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"title": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More",
"headTitle": "Looking For a Way to Mark Earth Day? Try These Movies, Songs, Books and More | KQED",
"content": "\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p69lEMn0I8k\u003c/p>\n\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H9ePdk29rVI\u003c/p>\n\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9pyBKj5-jVk\u003c/p>\n\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WYj-7IrjC4c\u003c/p>\n\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OAK8Cd4t0WA\u003c/p>\n\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vCzaxunme7I\u003c/p>\n\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3s0LTDhqe5A\u003c/p>\n\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Thursday, Earth Day, President Biden is holding a global summit on climate—aiming for the U.S. to cut greenhouse gasses to half of their 2005 levels by the end of the 2020s.\u003c/p>\n\u003cp>Meanwhile at NPR, we want to share some ways we have connected with our Mother Earth via the arts. So, here are some of our favorite Earth-related media—from books to movies to songs—ones that might just give you something to think about and celebrate this Earth Day. (After you go for a walk or plant some flowers in your garden.)\u003c/p>\n\u003cp>\u003cstrong>Richard Powers’ \u003cem>Overstory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Trees are older, wiser, and more diverse than humans. The presence of a majestic tree can provide emotional continuity for generations of one family. They beckon young climbers. They even communicate with each other. In Powers’ Pulitzer Prize-winning novel, a handful of different characters, from across time and geography, illuminate the ways in which we both cherish and destroy these towering giants. The stories eventually entwine in ways that might give “\u003ca href=\"https://www.npr.org/2018/04/19/602903697/novelist-richard-powers-finds-new-stories-deep-in-old-growth-forests\" target=\"_blank\" rel=\"noopener noreferrer\">the tree-blind\u003c/a>,” as Powers puts it, a newfound appreciation for the tribes we call forests. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Overstory-Novel-Richard-Powers/dp/039335668X/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Elizabeth Blair, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Silent Running \u003c/em>(1972)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/p69lEMn0I8k'\n title='//www.youtube.com/embed/p69lEMn0I8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Douglas Trumbull’s postapocalyptic thriller, created just two years after the first Earth Day in 1970, starts in the not-too-distant future with Earth’s last surviving plant life preserved in space pods—giant geodesic domes attached to massive space freighters—for eventual return to use to reforest the planet. Bruce Dern is one of the caretakers when the cargo company decides it wants its freighters back, and starts jettisoning the pods. Aided by three droids—Huey, Dewey and Louie—Dern engages in some creative sabotage to foil their attempts and save the last vestiges of Earth’s ecosystem. (\u003ca href=\"https://www.amazon.com/Silent-Running-Douglas-Trumbull/dp/B002RPK1P0\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Amazon Prime Video). \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“Mercy, Mercy Me (The Ecology)”\u003c/strong>\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/H9ePdk29rVI'\n title='//www.youtube.com/embed/H9ePdk29rVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What I love about this song—and the entire \u003cem>What’s Going On\u003c/em> album—is how it tackles a serious issue without a hint of preachiness or condescension. (*cough* Common *cough*) It emanates palpable concern and weariness for the state of the environment and is a musical poem with no real chorus, only the repeated, deeply relatable sigh of “mercy, mercy me” in between laments about “overcrowded land” and its “abuse from man.” The gift and curse of this song is that it’s even more relevant today than it was 50 years ago. (\u003ca href=\"https://www.youtube.com/watch?v=H9ePdk29rVI\" target=\"_blank\" rel=\"noopener noreferrer\">Listen\u003c/a> on YouTube.) —\u003cem> Aisha Harris, co-host Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>WALL-E\u003c/em>\u003c/strong>\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/9pyBKj5-jVk'\n title='//www.youtube.com/embed/9pyBKj5-jVk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Apparently, humans never changed course on pollution, and sometime in the 22nd century they were forced to leave a planet they had turned into a giant garbage dump. But they left without turning off a trash-compactor-on-treads robot they’d left behind—a Waste Allocation Load-Lifter: Earth Class, or WALL-E—who has, over the course of 700 years, developed a personality. Pixar’s digitizers made the first hour at once a bleak vision of our future, and an enchanting Chaplinesque love story as WALL-E falls for EVE—an Extra-terrestrial Vegetation Evaluator. (\u003ca href=\"https://www.preview.disneyplus.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a> on Disney+.) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Life in Color with David Attenborough\u003c/em>\u003c/strong>\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/WYj-7IrjC4c'\n title='//www.youtube.com/embed/WYj-7IrjC4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s favorite rumpled British naturalist is back, in a two-part docuseries about the way animals use color to warn off and/or hide from predators and find mates. Attenborough’s trademark warm, inquisitive voice has grown a bit thinner with age, but it’s still supple enough to convey his wonder at, and delight in, the natural world. And what a world this series captures, bursting with dazzling, shifting colors, courtesy of new camera technology that can approximate those aspects of the color spectrum normally invisible to us. A third episode offers a behind-the-scenes peek at how the documentary crew managed to capture some of the series’ most striking images. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix.\u003c/a>) \u003cem>— Glen Weldon, co-host, Pop Culture Happy Hour\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Learning, Recycling, and Becoming Little Heroes\u003c/strong> \u003c/em>\u003c/p>\n\u003cp>Author and activist Gale Glover was researching the Flint water crisis when she became inspired by how the city’s children have coped and changed with the environmental challenges that now define their hometown. You can hear Glover, who herself grew up in Flint, discussing the resilience of those kids in her thoughtful and uplifting 2016 children’s book, \u003cem>Learning, Recycling, and Becoming Little Heroes \u003c/em>\u003ca href=\"https://www.michiganradio.org/post/childrens-book-pays-tribute-unsung-heroes-flint-water-crisis-kids\" target=\"_blank\" rel=\"noopener noreferrer\">in this interview\u003c/a> on the Michigan Radio program Stateside. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Learning-Recycling-Becoming-Little-Heroes/dp/1533581118\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>An Inconvenient Truth\u003c/strong>\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/OAK8Cd4t0WA'\n title='//www.youtube.com/embed/OAK8Cd4t0WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, yeah, I know. You think it’ll be like watching paint dry to hear Al Gore talking about global warming. Well, the film turns out to be pretty amazing, and \u003cem>very\u003c/em> smartly done, with computer graphics that make the story he’s telling far scarier and more immediate than the Hollywoodized one in, say, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0319262/\" target=\"_blank\" rel=\"noopener noreferrer\">The Day After Tomorrow\u003c/a>\u003c/em>. I remember at the premiere, not a soul got up during the credits because they were riveted, believe it or not, by an environmental “to do” list. (Watch it on \u003ca href=\"https://www.amazon.com/gp/product/B00AB0SHRW?tag=deciderrg-20\" target=\"_blank\" rel=\"noopener noreferrer\">Amazon Prime Video\u003c/a> or \u003ca href=\"https://www.paramountplus.com/intl/\" target=\"_blank\" rel=\"noopener noreferrer\">Paramount+\u003c/a>. ) \u003cem>— Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Artists Christo and Jeanne-Claude\u003c/strong>\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/vCzaxunme7I'\n title='//www.youtube.com/embed/vCzaxunme7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might not think of the artists Christo and Jeanne-Claude as ardent environmentalists, but the two cared passionately about how their famous works of art interacted with nature. As I wrote \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=4283898\" target=\"_blank\" rel=\"noopener noreferrer\">in this 2015 review\u003c/a> of \u003cem>5 Films About Christo and Jeanne-Claude\u003c/em> for NPR, they “enveloped the Pont Neuf in Paris within acres of shimmering fabric, curtained a Colorado valley, dotted the coastal landscapes of California and Japan with brightly colored umbrellas, circled 11 Biscayne Bay islands with electric-pink sheeting and ran an enormous white nylon fence through 24 miles of ranch land in the U.S. West.” In a series of documentaries now viewable on the \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Criterion Channel\u003c/a>, filmmakers Albert and David Maysles “draw viewers into the artist duo’s world of stunning vision, bullheaded stubbornness, flower-child flights of fancy and mind-bending logistics.” (Find the documentaries \u003ca href=\"https://www.criterionchannel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) \u003cem>— Neda Ulaby, reporter\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Octopus Teacher\u003c/strong>\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/3s0LTDhqe5A'\n title='//www.youtube.com/embed/3s0LTDhqe5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A documentary filmmaker goes deep inside an underwater kelp forest where he encounters—and then makes friends with—a mysterious sea creature. It sounds like something a Disney animator may have dreamed up, but it’s actually an apt description for Craig Foster’s Oscar-nominated Netflix film. Come along as Foster freedives into the chilly waters off South Africa. \u003cem>My Octopus Teacher\u003c/em> is a true reminder of the value of slowing down and immersing yourself (literally) in the natural world. (Find it on \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix\u003c/a>). \u003cem>— Bridget Bentz, producer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Forty Signs of Rain\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The breathtakingly plausible and gripping first novel of Kim Stanley Robinson’s hard-science-fiction “Science in the Capital” trilogy chronicles the cascading effects of global warming after a trigger event—a huge storm off the coast of California. Waters rise (the Lincoln Memorial in Washington, D.C. is soon up to Lincoln’s neck in a flood) and the world belatedly takes action. This sets up two terrific subsequent novels \u003cem>Fifty Degrees Below\u003c/em>, and \u003cem>Sixty Days and Counting\u003c/em>, which collectively earned Robinson the moniker “Master of Disaster.” No idea why Hollywood hasn’t leapt on these. They’re great reads. (You can find the book at your local library or independent bookstore, or \u003ca href=\"https://www.amazon.com/Forty-Signs-Science-Capital-Trilogy-ebook/dp/B000FC1PZC/ref=sr_1_1\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.) —\u003cem> Bob Mondello, TV critic\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+For+A+Way+To+Mark+Earth+Day%3F+Try+These+Movies%2C+Songs%2C+Books+And+More&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked",
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"content": "\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pnY9_DXMBis\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=imjSm7FNmwE\u003c/p>\n\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZvnPEMW1jj8\u003c/p>\n\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nu8TS2Vr6lo\u003c/p>\n\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjuphuG3ndw&t=1s\u003c/p>\n\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\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/pnY9_DXMBis'\n title='//www.youtube.com/embed/pnY9_DXMBis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\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/imjSm7FNmwE'\n title='//www.youtube.com/embed/imjSm7FNmwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\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/ZvnPEMW1jj8'\n title='//www.youtube.com/embed/ZvnPEMW1jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\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/Nu8TS2Vr6lo'\n title='//www.youtube.com/embed/Nu8TS2Vr6lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\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/qjuphuG3ndw'\n title='//www.youtube.com/embed/qjuphuG3ndw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hundreds of Fyre Festival Ticket Holders Poised to Win Payout in Class-Action Suit",
"headTitle": "Hundreds of Fyre Festival Ticket Holders Poised to Win Payout in Class-Action Suit | KQED",
"content": "\u003cp>Attendees of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">infamous Fyre Festival\u003c/a> didn’t exactly get what they paid for in 2017, when they arrived in the Bahamas for a luxury music festival only to find themselves stranded without basic provisions, let alone first-class accommodations.\u003c/p>\n\u003cp>Some four years later, hundreds of ticket holders are poised to receive more than $7,000 each after settling a class-action lawsuit with event organizers.\u003c/p>\n\u003cp>The settlement was reached Tuesday in U.S. Bankruptcy Court in the Southern District of New York, court documents show, with an early May deadline to object. The plaintiff is named as Gregory Messer, the Chapter 7 trustee of the estate of Fyre Festival LLC.\u003c/p>\n\u003cp>[aside postid='pop_108743'] It adds up to $2 million, and was announced as part of the festival’s ongoing bankruptcy proceedings. As it stands, the \u003ca href=\"https://www.nytimes.com/2021/04/15/arts/music/fyre-festival-settlement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> reports, 277 ticket holders will each receive a payout of $7,220, with an approval hearing scheduled for May 13. (The exact amount of the payout may change depending on how ongoing bankruptcy proceedings progress.)\u003c/p>\n\u003cp>“Billy [McFarland] went to jail, ticket holders can get some money back, and some very entertaining documentaries were made,” Ben Meiselas, a partner at California-based Geragos & Geragos who represented the ticket holders, told \u003cem>the Times\u003c/em>. “Now that’s justice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7_omekVr9fE\u003c/p>\n\u003cp>Indeed, the 2017 festival-that-wasn’t has left a trail of lawsuits, criminal charges and \u003ca href=\"https://www.npr.org/2019/01/18/686262708/fighting-fyre-with-fyre-fraud-two-documentaries-about-the-same-disaster\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic documentaries\u003c/a> in its wake.\u003c/p>\n\u003cp>McFarland, who organized and promoted the event, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">pled guilty\u003c/a> in 2018 to two counts of wire fraud related to the festival. He was \u003ca href=\"https://www.justice.gov/usao-sdny/pr/william-mcfarland-sentenced-6-years-prison-manhattan-federal-court-engaging-multiple\" target=\"_blank\" rel=\"noopener noreferrer\">sentenced\u003c/a> to six years in prison and three on probation for engaging in what prosecutors described as “multiple fraudulent schemes” and making false statements to law enforcement.\u003c/p>\n\u003cp>McFarland and his company, Fyre Media, have faced some \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">dozen\u003c/a> lawsuits in the festival’s aftermath. As NPR \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in 2018:\u003c/p>\n\u003cblockquote>\u003cp>McFarland had hawked a “life-changing,” paradisiacal music festival for well-heeled patrons intended to take place in the Bahamas in late April and early May 2017. Instead, the festival—which carried ticket prices of up to $12,000 apiece—collapsed in chaos, launching a parade of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">#dumpsterfyre\u003c/a> jokes and scads of schadenfreudic social media commentary, as hopeful festival-goers and vendors alike realized that they had been bilked.\u003c/p>\u003c/blockquote>\n\u003cp>Organizers offered an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> in the immediate wake of the event, admitting it “fell dramatically short of even the most modest expectations” and providing a form attendees could fill out to apply for a refund.\u003c/p>\n\u003cp>But for many, a refund was not enough.\u003c/p>\n\u003cp>The original class-action suit was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">filed in April 2017\u003c/a> against Fyre Media, McFarland and rapper Ja Rule, who was advertised as the festival’s co-founder, and sought $100 million in damages. The plaintiff is named as Daniel Jung, acting individually and as a representative of “a class of similarly-situated persons.”\u003c/p>\n\u003cp>The 21-page \u003ca href=\"https://www.documentcloud.org/documents/3688226-Fyre-Fest-Lawsuit.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> said refunds were inadequate, writing, “Class Members’ damages in being lured to a deserted island and left to fend for themselves—a situation tantamount to false imprisonment—exceed the face value of their ticket packages by many orders of magnitude.”\u003c/p>\n\u003cp>It accuses organizers of knowingly lying about the festival’s accommodations and safety, reaching out to celebrities and performers to discourage them from coming while continuing to sell ticket packages, which started at $1,200.\u003c/p>\n\u003cp>The festival was promoted—including by many \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\">social media influencers\u003c/a>—as a posh musical festival on a private island once owned by drug kingpin Pablo Escobar, complete with luxurious accommodations and first-class culinary experiences.\u003c/p>\n\u003cp>Instead, attendees arrived to find unsecured FEMA tents, \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">widely panned\u003c/a> food rations and no festival or medical staff to offer assistance. The island was neither private nor formerly owned by Escobar, attorneys noted.\u003c/p>\n\u003cp>[aside postid='arts_13148571'] “The festival’s lack of adequate food, water, shelter and medical care created a dangerous and panicked situation among attendees—suddenly finding themselves stranded on a remote island without basic provisions—that was closer to \u003cem>The Hunger Games\u003c/em> or \u003cem>Lord of the Flies\u003c/em> than Coachella,” they wrote, adding that efforts to escape were hampered by attendees’ reliance on organizers for transportation and the fact that the event had been billed as “cashless.”\u003c/p>\n\u003cp>Several other lawsuits involving the failed festival have been settled already.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2018, a North Carolina judge awarded \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">$5 million in damages\u003c/a> to two attendees who had sued McFarland; Ja Rule was initially named in that suit but was removed from the claim after settling with the two. And last May, \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\" target=\"_blank\" rel=\"noopener noreferrer\">Kendall Jenner\u003c/a> agreed to pay $90,000 for promoting the festival in a social media post.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hundreds+Of+Fyre+Festival+Ticket+Holders+Poised+To+Win+Payout+In+Class-Action+Suit+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees of the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">infamous Fyre Festival\u003c/a> didn’t exactly get what they paid for in 2017, when they arrived in the Bahamas for a luxury music festival only to find themselves stranded without basic provisions, let alone first-class accommodations.\u003c/p>\n\u003cp>Some four years later, hundreds of ticket holders are poised to receive more than $7,000 each after settling a class-action lawsuit with event organizers.\u003c/p>\n\u003cp>The settlement was reached Tuesday in U.S. Bankruptcy Court in the Southern District of New York, court documents show, with an early May deadline to object. The plaintiff is named as Gregory Messer, the Chapter 7 trustee of the estate of Fyre Festival LLC.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> It adds up to $2 million, and was announced as part of the festival’s ongoing bankruptcy proceedings. As it stands, the \u003ca href=\"https://www.nytimes.com/2021/04/15/arts/music/fyre-festival-settlement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a> reports, 277 ticket holders will each receive a payout of $7,220, with an approval hearing scheduled for May 13. (The exact amount of the payout may change depending on how ongoing bankruptcy proceedings progress.)\u003c/p>\n\u003cp>“Billy [McFarland] went to jail, ticket holders can get some money back, and some very entertaining documentaries were made,” Ben Meiselas, a partner at California-based Geragos & Geragos who represented the ticket holders, told \u003cem>the Times\u003c/em>. “Now that’s justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/7_omekVr9fE'\n title='//www.youtube.com/embed/7_omekVr9fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, the 2017 festival-that-wasn’t has left a trail of lawsuits, criminal charges and \u003ca href=\"https://www.npr.org/2019/01/18/686262708/fighting-fyre-with-fyre-fraud-two-documentaries-about-the-same-disaster\" target=\"_blank\" rel=\"noopener noreferrer\">dramatic documentaries\u003c/a> in its wake.\u003c/p>\n\u003cp>McFarland, who organized and promoted the event, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">pled guilty\u003c/a> in 2018 to two counts of wire fraud related to the festival. He was \u003ca href=\"https://www.justice.gov/usao-sdny/pr/william-mcfarland-sentenced-6-years-prison-manhattan-federal-court-engaging-multiple\" target=\"_blank\" rel=\"noopener noreferrer\">sentenced\u003c/a> to six years in prison and three on probation for engaging in what prosecutors described as “multiple fraudulent schemes” and making false statements to law enforcement.\u003c/p>\n\u003cp>McFarland and his company, Fyre Media, have faced some \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/06/591366152/fyre-festival-promoter-billy-mcfarland-pleads-guilty-to-fraud\" target=\"_blank\" rel=\"noopener noreferrer\">dozen\u003c/a> lawsuits in the festival’s aftermath. As NPR \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in 2018:\u003c/p>\n\u003cblockquote>\u003cp>McFarland had hawked a “life-changing,” paradisiacal music festival for well-heeled patrons intended to take place in the Bahamas in late April and early May 2017. Instead, the festival—which carried ticket prices of up to $12,000 apiece—collapsed in chaos, launching a parade of \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/28/526019457/paradise-lost-luxury-music-festival-turns-out-to-be-half-built-scene-of-chaos\" target=\"_blank\" rel=\"noopener noreferrer\">#dumpsterfyre\u003c/a> jokes and scads of schadenfreudic social media commentary, as hopeful festival-goers and vendors alike realized that they had been bilked.\u003c/p>\u003c/blockquote>\n\u003cp>Organizers offered an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">apology\u003c/a> in the immediate wake of the event, admitting it “fell dramatically short of even the most modest expectations” and providing a form attendees could fill out to apply for a refund.\u003c/p>\n\u003cp>But for many, a refund was not enough.\u003c/p>\n\u003cp>The original class-action suit was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/01/526392280/fyre-festival-hit-with-100-million-suit-organizer-says-we-were-a-little-naive\" target=\"_blank\" rel=\"noopener noreferrer\">filed in April 2017\u003c/a> against Fyre Media, McFarland and rapper Ja Rule, who was advertised as the festival’s co-founder, and sought $100 million in damages. The plaintiff is named as Daniel Jung, acting individually and as a representative of “a class of similarly-situated persons.”\u003c/p>\n\u003cp>The 21-page \u003ca href=\"https://www.documentcloud.org/documents/3688226-Fyre-Fest-Lawsuit.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> said refunds were inadequate, writing, “Class Members’ damages in being lured to a deserted island and left to fend for themselves—a situation tantamount to false imprisonment—exceed the face value of their ticket packages by many orders of magnitude.”\u003c/p>\n\u003cp>It accuses organizers of knowingly lying about the festival’s accommodations and safety, reaching out to celebrities and performers to discourage them from coming while continuing to sell ticket packages, which started at $1,200.\u003c/p>\n\u003cp>The festival was promoted—including by many \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\">social media influencers\u003c/a>—as a posh musical festival on a private island once owned by drug kingpin Pablo Escobar, complete with luxurious accommodations and first-class culinary experiences.\u003c/p>\n\u003cp>Instead, attendees arrived to find unsecured FEMA tents, \u003ca href=\"https://twitter.com/trev4president/status/857776562615308288?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">widely panned\u003c/a> food rations and no festival or medical staff to offer assistance. The island was neither private nor formerly owned by Escobar, attorneys noted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “The festival’s lack of adequate food, water, shelter and medical care created a dangerous and panicked situation among attendees—suddenly finding themselves stranded on a remote island without basic provisions—that was closer to \u003cem>The Hunger Games\u003c/em> or \u003cem>Lord of the Flies\u003c/em> than Coachella,” they wrote, adding that efforts to escape were hampered by attendees’ reliance on organizers for transportation and the fact that the event had been billed as “cashless.”\u003c/p>\n\u003cp>Several other lawsuits involving the failed festival have been settled already.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2018, a North Carolina judge awarded \u003ca href=\"https://www.npr.org/2018/07/24/631945121/sec-settles-fraud-charges-against-fyre-festival-founder\" target=\"_blank\" rel=\"noopener noreferrer\">$5 million in damages\u003c/a> to two attendees who had sued McFarland; Ja Rule was initially named in that suit but was removed from the claim after settling with the two. And last May, \u003ca href=\"https://www.reuters.com/article/bankruptcy-jenner/in-brief-kendall-jenner-to-pay-90000-in-fyre-festival-settlement-idUSL1N2D300N\" target=\"_blank\" rel=\"noopener noreferrer\">Kendall Jenner\u003c/a> agreed to pay $90,000 for promoting the festival in a social media post.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hundreds+Of+Fyre+Festival+Ticket+Holders+Poised+To+Win+Payout+In+Class-Action+Suit+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "a-salute-to-san-francisco-rap",
"title": "A Salute to San Francisco Rap",
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"headTitle": "A Salute to San Francisco Rap | KQED",
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"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\">B\u003c/span>ack in December of 2020, as Vallejo’s E-40 and Oakland’s Too $hort \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">celebrated the Bay’s hip-hop culture\u003c/a> during a Verzuz event, I got to thinking: the East Bay may have its icons, but someone should write about the current state of San Francisco’s rap scene. It’s lightweight on fire.\u003c/p>\n\u003cp>Artists are active. Songs are slapping. Community is coming together. And this might only be \u003cem>the start\u003c/em>. That is, if it’s handled properly. At least that’s what people are telling me.\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>Superstar \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> is on the path to Bieber status. Rapper and \u003ca href=\"https://cookies.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookies\u003c/a> cannabis company founder \u003ca href=\"https://www.instagram.com/berner415/\" target=\"_blank\" rel=\"noopener noreferrer\">Berner\u003c/a> is one of the biggest kingpins in the legal marijuana industry. \u003ca href=\"https://www.instagram.com/larryjunetfm/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> raps about player stuff like expensive watches and green smoothies, has a signature \u003ca href=\"https://www.lakai.com/collections/larry-june\" target=\"_blank\" rel=\"noopener noreferrer\">Lakai shoe\u003c/a> and is behind the\u003ca href=\"https://www.instagram.com/honeybearboba_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Honey Bear boba shop\u003c/a> in the Dogpatch neighborhood—yet somehow still drops albums as often as BART experiences delays. (As he’d say to himself, “Good job, Larry.”) And \u003ca href=\"https://www.instagram.com/empire/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>, arguably the most influential independent rap label in the world right now, is based in San Francisco.\u003c/p>\n\u003cp>But what does this all mean? Is SF having “a moment”? If so, where does this moment stand in the larger scope of things?\u003c/p>\n\u003cp>I started researching by listening to everything from San Francisco I could find.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PqQHpU6Wli4\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\">I\u003c/span> gigged to\u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Lil Kayla\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=_CJkNmPgx6A\" target=\"_blank\" rel=\"noopener noreferrer\">Clone Me\u003c/a>” featuring East Oakland’s\u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Su’lan\u003c/a>. And I bobbed my head to the bars that\u003ca href=\"https://twitter.com/FrakThePerson/status/1364381425953165312?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Frak The Person\u003c/a> kicked over the \u003ca href=\"https://www.instagram.com/explore/tags/bakarybeatchallenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Bakary beat challenge\u003c/a>, which went so stupid \u003ca href=\"https://twitter.com/Kehlani/status/1364635081998880769?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani had to comment\u003c/a>.\u003c/p>\n\u003cp>I read about \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>,\u003c/a> and just watched her latest video for “\u003ca href=\"https://www.youtube.com/watch?v=zfqhEks9mCY\" target=\"_blank\" rel=\"noopener noreferrer\">Setas y Ceros\u003c/a>“—she’s singing and she’s spittin’. I gave that new Show Banga and IAMSU! song, “\u003ca href=\"https://song.link/i/1562344727\" target=\"_blank\" rel=\"noopener noreferrer\">Lonely\u003c/a>” a spin. I added \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One’s\u003c/a> new track “\u003ca href=\"https://www.youtube.com/watch?v=wRk_UNXtpUc\" target=\"_blank\" rel=\"noopener noreferrer\">Fog Mode\u003c/a>” (featuring Andre Nickatina), City P’s “\u003ca href=\"https://soundcloud.com/supastarcity/top-down\" target=\"_blank\" rel=\"noopener noreferrer\">Top Down\u003c/a>” and \u003ca href=\"https://www.instagram.com/p/CNOBPFmBKHM/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yee\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Zbxnbh7o5XE\" target=\"_blank\" rel=\"noopener noreferrer\">Steppin’ On Steppers\u003c/a>” to my playlist.\u003c/p>\n\u003cp>Ahead of an upcoming episode of my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> podcast\u003c/a> I read \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>‘s book \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin\u003c/em>\u003c/a> and reviewed her entire musical catalog. And through a recently published interview with \u003ca href=\"https://www.kqed.org/arts/13895377/these-artists-amplify-415-days-message-of-resistance-resilience-and-restitution\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal for The Kids and Baghead\u003c/a>, I found out about the \u003ca href=\"https://www.instagram.com/oldsoulko/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Soul Kollective\u003c/a>, as well as so many other artists.\u003c/p>\n\u003cp>Yung Lott’s “\u003ca href=\"https://www.youtube.com/watch?v=PqQHpU6Wli4\" target=\"_blank\" rel=\"noopener noreferrer\">How To Survive\u003c/a>” has that classic west coast kick. Galaxy Atoms’ just-dropped “\u003ca href=\"https://www.youtube.com/watch?v=ndK9zBP_O0s\" target=\"_blank\" rel=\"noopener noreferrer\">MVP\u003c/a>” sounds like newer west coast flavor. I know that \u003ca href=\"https://twitter.com/RichieCunning\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> is entertaining on Twitter, as well as on the track. And I know that \u003ca href=\"https://www.instagram.com/adamraps/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Raps\u003c/a>, a.k.a. A-1, just celebrated a birthday and is about to release new music.\u003c/p>\n\u003cp>https://youtu.be/oTBurjAiL2g\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> is headlining \u003ca href=\"https://www.instagram.com/p/CNoGm6YscGB/\" target=\"_blank\" rel=\"noopener noreferrer\">a 415 Day show\u003c/a>, alongside \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">StunnaMan02\u003c/a> (aka Jordan Gomes)—and both Gunna and Gomes are also thespians, featured in the film \u003cem>The Last Black Man in San Francisco\u003c/em>, amongst other projects.\u003c/p>\n\u003cp>I revisited Bby Laana’s “2018 Freestyle” and the “\u003ca href=\"https://www.youtube.com/watch?v=HynpJ0ZHojE\" target=\"_blank\" rel=\"noopener noreferrer\">Lose Control Freestyle\u003c/a>” that she dropped the following year. I listened to \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF’s\u003c/a> \u003cem>Free Play 4 \u003c/em>and a few of the projects he dropped before that. I got put on to \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">So Vicious \u003c/a>and \u003ca href=\"https://www.instagram.com/drew_beez_/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Beez\u003c/a>.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/y0ungbari/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Bari,\u003c/a> \u003ca href=\"https://www.instagram.com/08_zaybang/\" target=\"_blank\" rel=\"noopener noreferrer\">ZayBang\u003c/a> and \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a>, who all, in one way or another, told me the City’s rap scene is definitely having a moment. I read about the recent passing of 11-5’s Maine-O, and I also re-read the circumstances around \u003ca href=\"https://www.latimes.com/california/story/2020-11-30/rapper-lil-yase-shot-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yase’s death\u003c/a>; a sad loss of so much potential.\u003c/p>\n\u003cfigure id=\"attachment_13895805\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_0651.jpg\" alt=\"Hugh E.M.C poses for a photo for his album cover, as drug paraphernalia, a gun and cash lay in front of him.\" width=\"600\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh E.M.C in a photoshoot for his 1994 album ‘The Mob.’ \u003ccite>(Via Hugh E.M.C. )\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\">I\u003c/span> even went back, and called \u003ca href=\"https://www.instagram.com/hughemc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hugh E.M.C.\u003c/a>, the artist behind the early ’90s song “\u003ca href=\"https://www.youtube.com/watch?v=9o7KJcYEX80\" target=\"_blank\" rel=\"noopener noreferrer\">H N*gga Groove (Keep a B*tch Broke)\u003c/a>.”\u003c/p>\n\u003cp>Hugh, following his\u003cspan style=\"font-weight: 400\"> “\u003ca href=\"https://soundcloud.com/hugh-emc/sets/hiphopmanifesto\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Manifesto\u003c/a>,” is \u003c/span>now encouraging\u003cspan style=\"font-weight: 400\"> artists to put out one conscious song per project. In regards to the current rap scene in San Francisco, he says, \u003c/span>\u003cspan style=\"font-weight: 400\">“This is a \u003cem>type\u003c/em> of moment, but when I compare it to the past, San Francisco artists were having multi-regional, almost national moments… I would love to see it jump to another level.”\u003c/span>\u003c/p>\n\u003cp>I called up another Frisco vet, \u003ca href=\"https://www.instagram.com/equipto_415/\" target=\"_blank\" rel=\"noopener noreferrer\">Equipto\u003c/a>, who also got his start in the ’90s, and is steeped in community activism. He helped launch the anti-police hunger strike by the\u003ca href=\"https://www.sfexaminer.com/news/rapper-frisco-five-protester-equipto-arrested-in-mission-district-confrontation-with-police/\" target=\"_blank\" rel=\"noopener noreferrer\"> Frisco Five\u003c/a> and currently works with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/frisco_copwatch/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Cop Watch\u003c/a>—in addition to advocating for the unsheltered community through\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.poormagazine.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Poor Magazine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Equipto, who recently dropped a new project with \u003ca href=\"https://www.youtube.com/channel/UC9pTDmqO_h7UkQtdAYLCmaQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Watershed\u003c/a>, says, “Frisco ain’t never really had that highlight—the Bay Area might’ve—but Frisco never really had that run. And that’s what’s cultivating right now. There’s more eyes are on San Francisco.”\u003c/p>\n\u003cp>Equipto tells me that SF always had that “underground, solid, rawness of what the industry needed.” But despite the notoriety of artists like Rappin’ 4-Tay and the late Cougnut, “We were just kind of always overlooked in the economics of it,” says Equipto.\u003c/p>\n\u003cfigure id=\"attachment_13895804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg\" alt=\"Big Rich wears a leather letterman jacket and a big chain with his initials as he looks into the lens.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507.jpg 1365w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Rich, cofounder of Project Level, turned “tragedy into triumph.” \u003ccite>(BillionDreams)\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\">A\u003c/span>sk \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener noreferrer\">D.E.O\u003c/a>, founder of the \u003ca href=\"https://twitter.com/trackdout\" target=\"_blank\" rel=\"noopener noreferrer\">Trackdout app\u003c/a> and half of the \u003ca href=\"https://www.instagram.com/evenoddsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Evenodds\u003c/a> production team, and he’ll tell you that he believes there’s something good happening in his city too. But he’s weary of pitfalls that have come about in the past—namely the “politics,” in addition to the economics.\u003c/p>\n\u003cp>“The street politics of the City has been the curse of Frisco,” says D.E.O. “It goes back to RBL. One of the greatest hip-hop groups of all time was dismantled because of street beef.” D.E.O believes the murders of the RBL Posse’s \u003ca href=\"https://www.sfgate.com/news/article/THE-KILLING-STREETS-A-Cycle-of-Vengeance-2839391.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitman and Mr. Cee\u003c/a> played a significant role in labels turning their backs on San Francisco.\u003c/p>\n\u003cp>He tells me that the divisions amongst communities, and the propensity for rappers to keep one foot in the streets while trying to run a legitimate business, have proven to be a major hurdle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of Frisco artists,” says D.E.O, “don’t look at themselves as a commodity, they look at themselves as the savior of the hood—when it’s bigger than the hood. It’s fine to want to save the hood and everything, but you’ve got to think more about the corporate structure. How do real corporations work?”\u003c/span>\u003c/p>\n\u003cp>Richard “\u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>” Bougere is a well-known San Francisco rapper who has some knowledge of how both the rap game and big corporations work.\u003c/p>\n\u003cp>In 2012, Big Rich parlayed his name recognition from music into an arts-based nonprofit for young folks called \u003ca href=\"https://www.projectlevel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Level\u003c/a>, which he co-founded with his partner \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. After an incident in the summer of 2019, where staff of the major fashion retailer Forever 21 mistakenly accused young folks from Project Level of stealing, the two groups met and developed\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/06/20/racial-profiling-incident-at-forever-21-leads-to-remarkable-partnership-for-non-profit-group/\" target=\"_blank\" rel=\"noopener noreferrer\"> a partnership\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We turned tragedy into triumph,” Big Rich tells me during a phone call. “It opened up doors, we have Black equity in a major corporation.” It’s a\u003c/span> big 180° to the way big companies treated Big Rich’s business when he was rapping.\u003c/p>\n\u003cp>Now he wants to see more investment from billion-dollar corporations into the careers of young artists of color. \u003cspan style=\"font-weight: 400\">“This is the culture of the industry, this is where the money is generated from,” says Big Rich of the young people he works with. “We have to reinvest into these communities.”\u003c/span>\u003c/p>\n\u003cp>Through Project Level, Big Rich has also seen how investing in the community can lead to striking gold.\u003c/p>\n\u003cp>https://youtu.be/trU-S53fK04\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>n a rainy April 15th, at a 415 Day celebration in 2018, a young artist named \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> grabbed the microphone. \u003cspan style=\"font-weight: 400\">“H\u003c/span>\u003cspan style=\"font-weight: 400\">e electrified the stage, but no one was really there,” says Big Rich. “I was like, ‘This kid is dope!'”\u003c/span>\u003c/p>\n\u003cp>After learning that 24K Goldn was already en route to USC in the fall, Big Rich connected him to a manager in Southern California. Now 24K Goldn, who went \u003ca href=\"https://twitter.com/24kGoldn/status/1258103370562146304?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">platinum last year\u003c/a> and just dropped a new album, \u003cem>El Dorado\u003c/em>, a month ago,\u003cspan style=\"font-weight: 400\"> “is arguably the hottest artist in the country right now,” according to Big Rich—and the \u003ca href=\"https://www.billboard.com/music/24kgoldn\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard charts\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>Now the question is, how can more San Francisco artists shine like 24K Goldn?\u003c/p>\n\u003cp>It’s a question that’s not just about talent. It’s about “politics,” structure and business acumen. It’s about navigating the high cost of living. And, for some, it’s about being a member of the small percentage of working class Black and brown folks struggling to make ends meet in one the world’s most expensive cities—and still make art.\u003c/p>\n\u003cp>How?\u003c/p>\n\u003cp>“Ghazi at Empire has a plan,” Big Rich tells me. “He’s investing in artists in the City, and I think it’s going to pay off.”\u003c/p>\n\u003cfigure id=\"attachment_13895809\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg\" alt=\"The cover of 'Zaytoven Presents Fo15,' released by Empire. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Zaytoven Presents Fo15,’ released by Empire.\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\">“I\u003c/span> didn’t realize we were having a moment,” Ghazi says during a Zoom call earlier this week. “I was trying to create a moment.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ghazi/\" target=\"_blank\" rel=\"noopener noreferrer\">Ghazi\u003c/a> is the head of the major independent label Empire, and the A&R behind the newly released album, \u003cem>Zaytoven Presents:\u003c/em> \u003cem>\u003ca href=\"https://www.empi.re/listen/index.php?id=172356\" target=\"_blank\" rel=\"noopener noreferrer\">Fo15\u003c/a>\u003c/em>, which celebrates some of San Francisco’s rawest talent.\u003c/p>\n\u003cp>The album is produced by San Francisco’s own mega-producer \u003ca href=\"https://www.instagram.com/zaytovenbeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Zaytoven\u003c/a>, known for his collaborations with southern rappers like Gucci Mane. The album features members of Frisco’s next wave of stars: Lil Bean, ZayBang, Prezi, Kxng Lamma and Lil Pete.\u003c/p>\n\u003cp>Ghazi, who grew up listening to artists like \u003ca href=\"https://www.discogs.com/artist/338893-IMP\" target=\"_blank\" rel=\"noopener noreferrer\">I.M.P\u003c/a>. and the \u003ca href=\"https://www.discogs.com/artist/332457-Get-Low-Playaz\" target=\"_blank\" rel=\"noopener noreferrer\">Get Low Playaz\u003c/a>, says, “A big part of putting this project together was to do for the next generation what those artists did for me, which is creating bigger and better things.”\u003c/p>\n\u003cp>He says that in the past, a lot of the issues the City’s rap scene faced were “due to lack of infrastructure, lack of proper mentorship, the political landscape that surrounds a lot of the neighborhoods, the socioeconomics,” and a bunch of other things going on in the City. But now there’s potential do things differently.\u003c/p>\n\u003cp>Ghazi makes a basketball comparison, saying that an artist putting up great individual stats isn’t the same as the whole team putting up great stats, or having a coaching staff that can compete with the rest of the league. “We’ve always had the talented players,” says Ghazi of San Francisco’s artists. “But we never had the franchise, we never had the coaching staff, and we never ran an 82 game season.”\u003c/p>\n\u003cp>https://youtu.be/uZpWqUpAbbo\u003c/p>\n\u003cp>“In my mind, San Francisco is not having a moment,” Ghazi tells me over the video chat as he drives through East Oakland. “In my mind, the whole entire Bay Area has been dry for quite some time, and most people have no idea what the glory years were like in the Bay… \u003cspan style=\"font-weight: 400\">There’s a little bit of something happening, and I wouldn’t call it a moment, but there’s potential for a great moment if we stay on it. I wouldn’t call it a moment, yet.”\u003c/span>\u003c/p>\n\u003cp>One of the primary hurdles the City faces is the issue with talent leaving—not just artists, but talented people who work behind the scenes in businesses that support the industry. That’s why Ghazi’s been mindful to keep his company in San Francisco and create space for culture to flourish.\u003c/p>\n\u003cp>“This album is proof of the factory existing,” says Ghazi of the \u003cem>Fo15\u003c/em> project.\u003c/p>\n\u003cp>And now, in order to get to that true “moment”—or rather, a time period of extended success for San Francisco—Ghazi has a simple formula.\u003c/p>\n\u003cp>“We gotta tell our story,” Ghazi tells me. He’s firm in his beliefs that people should know and be proud of all of the talent that has come from San Francisco—from Andre Nickatina to Apple’s \u003ca href=\"https://www.instagram.com/thelarryjackson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Jackson\u003c/a> (who plays a significant role in making those \u003ca href=\"https://appleinsider.com/articles/20/08/13/apple-musics-larry-jackson-weighs-in-on-verzuz-collaboration\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz events\u003c/a> happen) and back to every rapper named in this article.\u003c/p>\n\u003cp>“The more individual success stories you create, you raise the economy of the region,” says Ghazi. “When you raise the overall economy of the region, people are less inclined to leave the region because they have something to do. And when people don’t leave, you keep the talent in.”\u003c/p>\n\u003cp>As a kid from Oakland who grew up listening to E-40 and Too $hort, as well as Messy Marv, JT the Bigga Figga, and San Quinn, I get it. We’re a vast region with different cultures in each city, neighborhood and block. That said, when one section is going about their business correctly, the honorable thing to do is give them a salute.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco, here’s to you.\u003c/p>\n\n",
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"excerpt": "The City got somethin' to say, that's all I got to say.",
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"title": "A Salute to San Francisco Rap | KQED",
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"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\">B\u003c/span>ack in December of 2020, as Vallejo’s E-40 and Oakland’s Too $hort \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">celebrated the Bay’s hip-hop culture\u003c/a> during a Verzuz event, I got to thinking: the East Bay may have its icons, but someone should write about the current state of San Francisco’s rap scene. It’s lightweight on fire.\u003c/p>\n\u003cp>Artists are active. Songs are slapping. Community is coming together. And this might only be \u003cem>the start\u003c/em>. That is, if it’s handled properly. At least that’s what people are telling me.\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>Superstar \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> is on the path to Bieber status. Rapper and \u003ca href=\"https://cookies.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookies\u003c/a> cannabis company founder \u003ca href=\"https://www.instagram.com/berner415/\" target=\"_blank\" rel=\"noopener noreferrer\">Berner\u003c/a> is one of the biggest kingpins in the legal marijuana industry. \u003ca href=\"https://www.instagram.com/larryjunetfm/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> raps about player stuff like expensive watches and green smoothies, has a signature \u003ca href=\"https://www.lakai.com/collections/larry-june\" target=\"_blank\" rel=\"noopener noreferrer\">Lakai shoe\u003c/a> and is behind the\u003ca href=\"https://www.instagram.com/honeybearboba_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Honey Bear boba shop\u003c/a> in the Dogpatch neighborhood—yet somehow still drops albums as often as BART experiences delays. (As he’d say to himself, “Good job, Larry.”) And \u003ca href=\"https://www.instagram.com/empire/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>, arguably the most influential independent rap label in the world right now, is based in San Francisco.\u003c/p>\n\u003cp>But what does this all mean? Is SF having “a moment”? If so, where does this moment stand in the larger scope of things?\u003c/p>\n\u003cp>I started researching by listening to everything from San Francisco I could find.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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/PqQHpU6Wli4'\n title='//www.youtube.com/embed/PqQHpU6Wli4'\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\">I\u003c/span> gigged to\u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Lil Kayla\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=_CJkNmPgx6A\" target=\"_blank\" rel=\"noopener noreferrer\">Clone Me\u003c/a>” featuring East Oakland’s\u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Su’lan\u003c/a>. And I bobbed my head to the bars that\u003ca href=\"https://twitter.com/FrakThePerson/status/1364381425953165312?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Frak The Person\u003c/a> kicked over the \u003ca href=\"https://www.instagram.com/explore/tags/bakarybeatchallenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Bakary beat challenge\u003c/a>, which went so stupid \u003ca href=\"https://twitter.com/Kehlani/status/1364635081998880769?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani had to comment\u003c/a>.\u003c/p>\n\u003cp>I read about \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>,\u003c/a> and just watched her latest video for “\u003ca href=\"https://www.youtube.com/watch?v=zfqhEks9mCY\" target=\"_blank\" rel=\"noopener noreferrer\">Setas y Ceros\u003c/a>“—she’s singing and she’s spittin’. I gave that new Show Banga and IAMSU! song, “\u003ca href=\"https://song.link/i/1562344727\" target=\"_blank\" rel=\"noopener noreferrer\">Lonely\u003c/a>” a spin. I added \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One’s\u003c/a> new track “\u003ca href=\"https://www.youtube.com/watch?v=wRk_UNXtpUc\" target=\"_blank\" rel=\"noopener noreferrer\">Fog Mode\u003c/a>” (featuring Andre Nickatina), City P’s “\u003ca href=\"https://soundcloud.com/supastarcity/top-down\" target=\"_blank\" rel=\"noopener noreferrer\">Top Down\u003c/a>” and \u003ca href=\"https://www.instagram.com/p/CNOBPFmBKHM/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yee\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Zbxnbh7o5XE\" target=\"_blank\" rel=\"noopener noreferrer\">Steppin’ On Steppers\u003c/a>” to my playlist.\u003c/p>\n\u003cp>Ahead of an upcoming episode of my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> podcast\u003c/a> I read \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>‘s book \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin\u003c/em>\u003c/a> and reviewed her entire musical catalog. And through a recently published interview with \u003ca href=\"https://www.kqed.org/arts/13895377/these-artists-amplify-415-days-message-of-resistance-resilience-and-restitution\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal for The Kids and Baghead\u003c/a>, I found out about the \u003ca href=\"https://www.instagram.com/oldsoulko/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Soul Kollective\u003c/a>, as well as so many other artists.\u003c/p>\n\u003cp>Yung Lott’s “\u003ca href=\"https://www.youtube.com/watch?v=PqQHpU6Wli4\" target=\"_blank\" rel=\"noopener noreferrer\">How To Survive\u003c/a>” has that classic west coast kick. Galaxy Atoms’ just-dropped “\u003ca href=\"https://www.youtube.com/watch?v=ndK9zBP_O0s\" target=\"_blank\" rel=\"noopener noreferrer\">MVP\u003c/a>” sounds like newer west coast flavor. I know that \u003ca href=\"https://twitter.com/RichieCunning\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> is entertaining on Twitter, as well as on the track. And I know that \u003ca href=\"https://www.instagram.com/adamraps/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Raps\u003c/a>, a.k.a. A-1, just celebrated a birthday and is about to release new music.\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/oTBurjAiL2g'\n title='//www.youtube.com/embed/oTBurjAiL2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> is headlining \u003ca href=\"https://www.instagram.com/p/CNoGm6YscGB/\" target=\"_blank\" rel=\"noopener noreferrer\">a 415 Day show\u003c/a>, alongside \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">StunnaMan02\u003c/a> (aka Jordan Gomes)—and both Gunna and Gomes are also thespians, featured in the film \u003cem>The Last Black Man in San Francisco\u003c/em>, amongst other projects.\u003c/p>\n\u003cp>I revisited Bby Laana’s “2018 Freestyle” and the “\u003ca href=\"https://www.youtube.com/watch?v=HynpJ0ZHojE\" target=\"_blank\" rel=\"noopener noreferrer\">Lose Control Freestyle\u003c/a>” that she dropped the following year. I listened to \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF’s\u003c/a> \u003cem>Free Play 4 \u003c/em>and a few of the projects he dropped before that. I got put on to \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">So Vicious \u003c/a>and \u003ca href=\"https://www.instagram.com/drew_beez_/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Beez\u003c/a>.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/y0ungbari/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Bari,\u003c/a> \u003ca href=\"https://www.instagram.com/08_zaybang/\" target=\"_blank\" rel=\"noopener noreferrer\">ZayBang\u003c/a> and \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a>, who all, in one way or another, told me the City’s rap scene is definitely having a moment. I read about the recent passing of 11-5’s Maine-O, and I also re-read the circumstances around \u003ca href=\"https://www.latimes.com/california/story/2020-11-30/rapper-lil-yase-shot-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yase’s death\u003c/a>; a sad loss of so much potential.\u003c/p>\n\u003cfigure id=\"attachment_13895805\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_0651.jpg\" alt=\"Hugh E.M.C poses for a photo for his album cover, as drug paraphernalia, a gun and cash lay in front of him.\" width=\"600\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh E.M.C in a photoshoot for his 1994 album ‘The Mob.’ \u003ccite>(Via Hugh E.M.C. )\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\">I\u003c/span> even went back, and called \u003ca href=\"https://www.instagram.com/hughemc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hugh E.M.C.\u003c/a>, the artist behind the early ’90s song “\u003ca href=\"https://www.youtube.com/watch?v=9o7KJcYEX80\" target=\"_blank\" rel=\"noopener noreferrer\">H N*gga Groove (Keep a B*tch Broke)\u003c/a>.”\u003c/p>\n\u003cp>Hugh, following his\u003cspan style=\"font-weight: 400\"> “\u003ca href=\"https://soundcloud.com/hugh-emc/sets/hiphopmanifesto\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Manifesto\u003c/a>,” is \u003c/span>now encouraging\u003cspan style=\"font-weight: 400\"> artists to put out one conscious song per project. In regards to the current rap scene in San Francisco, he says, \u003c/span>\u003cspan style=\"font-weight: 400\">“This is a \u003cem>type\u003c/em> of moment, but when I compare it to the past, San Francisco artists were having multi-regional, almost national moments… I would love to see it jump to another level.”\u003c/span>\u003c/p>\n\u003cp>I called up another Frisco vet, \u003ca href=\"https://www.instagram.com/equipto_415/\" target=\"_blank\" rel=\"noopener noreferrer\">Equipto\u003c/a>, who also got his start in the ’90s, and is steeped in community activism. He helped launch the anti-police hunger strike by the\u003ca href=\"https://www.sfexaminer.com/news/rapper-frisco-five-protester-equipto-arrested-in-mission-district-confrontation-with-police/\" target=\"_blank\" rel=\"noopener noreferrer\"> Frisco Five\u003c/a> and currently works with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/frisco_copwatch/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Cop Watch\u003c/a>—in addition to advocating for the unsheltered community through\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.poormagazine.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Poor Magazine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Equipto, who recently dropped a new project with \u003ca href=\"https://www.youtube.com/channel/UC9pTDmqO_h7UkQtdAYLCmaQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Watershed\u003c/a>, says, “Frisco ain’t never really had that highlight—the Bay Area might’ve—but Frisco never really had that run. And that’s what’s cultivating right now. There’s more eyes are on San Francisco.”\u003c/p>\n\u003cp>Equipto tells me that SF always had that “underground, solid, rawness of what the industry needed.” But despite the notoriety of artists like Rappin’ 4-Tay and the late Cougnut, “We were just kind of always overlooked in the economics of it,” says Equipto.\u003c/p>\n\u003cfigure id=\"attachment_13895804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg\" alt=\"Big Rich wears a leather letterman jacket and a big chain with his initials as he looks into the lens.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507.jpg 1365w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Rich, cofounder of Project Level, turned “tragedy into triumph.” \u003ccite>(BillionDreams)\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\">A\u003c/span>sk \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener noreferrer\">D.E.O\u003c/a>, founder of the \u003ca href=\"https://twitter.com/trackdout\" target=\"_blank\" rel=\"noopener noreferrer\">Trackdout app\u003c/a> and half of the \u003ca href=\"https://www.instagram.com/evenoddsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Evenodds\u003c/a> production team, and he’ll tell you that he believes there’s something good happening in his city too. But he’s weary of pitfalls that have come about in the past—namely the “politics,” in addition to the economics.\u003c/p>\n\u003cp>“The street politics of the City has been the curse of Frisco,” says D.E.O. “It goes back to RBL. One of the greatest hip-hop groups of all time was dismantled because of street beef.” D.E.O believes the murders of the RBL Posse’s \u003ca href=\"https://www.sfgate.com/news/article/THE-KILLING-STREETS-A-Cycle-of-Vengeance-2839391.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitman and Mr. Cee\u003c/a> played a significant role in labels turning their backs on San Francisco.\u003c/p>\n\u003cp>He tells me that the divisions amongst communities, and the propensity for rappers to keep one foot in the streets while trying to run a legitimate business, have proven to be a major hurdle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of Frisco artists,” says D.E.O, “don’t look at themselves as a commodity, they look at themselves as the savior of the hood—when it’s bigger than the hood. It’s fine to want to save the hood and everything, but you’ve got to think more about the corporate structure. How do real corporations work?”\u003c/span>\u003c/p>\n\u003cp>Richard “\u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>” Bougere is a well-known San Francisco rapper who has some knowledge of how both the rap game and big corporations work.\u003c/p>\n\u003cp>In 2012, Big Rich parlayed his name recognition from music into an arts-based nonprofit for young folks called \u003ca href=\"https://www.projectlevel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Level\u003c/a>, which he co-founded with his partner \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. After an incident in the summer of 2019, where staff of the major fashion retailer Forever 21 mistakenly accused young folks from Project Level of stealing, the two groups met and developed\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/06/20/racial-profiling-incident-at-forever-21-leads-to-remarkable-partnership-for-non-profit-group/\" target=\"_blank\" rel=\"noopener noreferrer\"> a partnership\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We turned tragedy into triumph,” Big Rich tells me during a phone call. “It opened up doors, we have Black equity in a major corporation.” It’s a\u003c/span> big 180° to the way big companies treated Big Rich’s business when he was rapping.\u003c/p>\n\u003cp>Now he wants to see more investment from billion-dollar corporations into the careers of young artists of color. \u003cspan style=\"font-weight: 400\">“This is the culture of the industry, this is where the money is generated from,” says Big Rich of the young people he works with. “We have to reinvest into these communities.”\u003c/span>\u003c/p>\n\u003cp>Through Project Level, Big Rich has also seen how investing in the community can lead to striking gold.\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/trU-S53fK04'\n title='//www.youtube.com/embed/trU-S53fK04'\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>n a rainy April 15th, at a 415 Day celebration in 2018, a young artist named \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> grabbed the microphone. \u003cspan style=\"font-weight: 400\">“H\u003c/span>\u003cspan style=\"font-weight: 400\">e electrified the stage, but no one was really there,” says Big Rich. “I was like, ‘This kid is dope!'”\u003c/span>\u003c/p>\n\u003cp>After learning that 24K Goldn was already en route to USC in the fall, Big Rich connected him to a manager in Southern California. Now 24K Goldn, who went \u003ca href=\"https://twitter.com/24kGoldn/status/1258103370562146304?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">platinum last year\u003c/a> and just dropped a new album, \u003cem>El Dorado\u003c/em>, a month ago,\u003cspan style=\"font-weight: 400\"> “is arguably the hottest artist in the country right now,” according to Big Rich—and the \u003ca href=\"https://www.billboard.com/music/24kgoldn\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard charts\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>Now the question is, how can more San Francisco artists shine like 24K Goldn?\u003c/p>\n\u003cp>It’s a question that’s not just about talent. It’s about “politics,” structure and business acumen. It’s about navigating the high cost of living. And, for some, it’s about being a member of the small percentage of working class Black and brown folks struggling to make ends meet in one the world’s most expensive cities—and still make art.\u003c/p>\n\u003cp>How?\u003c/p>\n\u003cp>“Ghazi at Empire has a plan,” Big Rich tells me. “He’s investing in artists in the City, and I think it’s going to pay off.”\u003c/p>\n\u003cfigure id=\"attachment_13895809\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg\" alt=\"The cover of 'Zaytoven Presents Fo15,' released by Empire. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Zaytoven Presents Fo15,’ released by Empire.\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\">“I\u003c/span> didn’t realize we were having a moment,” Ghazi says during a Zoom call earlier this week. “I was trying to create a moment.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ghazi/\" target=\"_blank\" rel=\"noopener noreferrer\">Ghazi\u003c/a> is the head of the major independent label Empire, and the A&R behind the newly released album, \u003cem>Zaytoven Presents:\u003c/em> \u003cem>\u003ca href=\"https://www.empi.re/listen/index.php?id=172356\" target=\"_blank\" rel=\"noopener noreferrer\">Fo15\u003c/a>\u003c/em>, which celebrates some of San Francisco’s rawest talent.\u003c/p>\n\u003cp>The album is produced by San Francisco’s own mega-producer \u003ca href=\"https://www.instagram.com/zaytovenbeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Zaytoven\u003c/a>, known for his collaborations with southern rappers like Gucci Mane. The album features members of Frisco’s next wave of stars: Lil Bean, ZayBang, Prezi, Kxng Lamma and Lil Pete.\u003c/p>\n\u003cp>Ghazi, who grew up listening to artists like \u003ca href=\"https://www.discogs.com/artist/338893-IMP\" target=\"_blank\" rel=\"noopener noreferrer\">I.M.P\u003c/a>. and the \u003ca href=\"https://www.discogs.com/artist/332457-Get-Low-Playaz\" target=\"_blank\" rel=\"noopener noreferrer\">Get Low Playaz\u003c/a>, says, “A big part of putting this project together was to do for the next generation what those artists did for me, which is creating bigger and better things.”\u003c/p>\n\u003cp>He says that in the past, a lot of the issues the City’s rap scene faced were “due to lack of infrastructure, lack of proper mentorship, the political landscape that surrounds a lot of the neighborhoods, the socioeconomics,” and a bunch of other things going on in the City. But now there’s potential do things differently.\u003c/p>\n\u003cp>Ghazi makes a basketball comparison, saying that an artist putting up great individual stats isn’t the same as the whole team putting up great stats, or having a coaching staff that can compete with the rest of the league. “We’ve always had the talented players,” says Ghazi of San Francisco’s artists. “But we never had the franchise, we never had the coaching staff, and we never ran an 82 game season.”\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/uZpWqUpAbbo'\n title='//www.youtube.com/embed/uZpWqUpAbbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In my mind, San Francisco is not having a moment,” Ghazi tells me over the video chat as he drives through East Oakland. “In my mind, the whole entire Bay Area has been dry for quite some time, and most people have no idea what the glory years were like in the Bay… \u003cspan style=\"font-weight: 400\">There’s a little bit of something happening, and I wouldn’t call it a moment, but there’s potential for a great moment if we stay on it. I wouldn’t call it a moment, yet.”\u003c/span>\u003c/p>\n\u003cp>One of the primary hurdles the City faces is the issue with talent leaving—not just artists, but talented people who work behind the scenes in businesses that support the industry. That’s why Ghazi’s been mindful to keep his company in San Francisco and create space for culture to flourish.\u003c/p>\n\u003cp>“This album is proof of the factory existing,” says Ghazi of the \u003cem>Fo15\u003c/em> project.\u003c/p>\n\u003cp>And now, in order to get to that true “moment”—or rather, a time period of extended success for San Francisco—Ghazi has a simple formula.\u003c/p>\n\u003cp>“We gotta tell our story,” Ghazi tells me. He’s firm in his beliefs that people should know and be proud of all of the talent that has come from San Francisco—from Andre Nickatina to Apple’s \u003ca href=\"https://www.instagram.com/thelarryjackson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Jackson\u003c/a> (who plays a significant role in making those \u003ca href=\"https://appleinsider.com/articles/20/08/13/apple-musics-larry-jackson-weighs-in-on-verzuz-collaboration\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz events\u003c/a> happen) and back to every rapper named in this article.\u003c/p>\n\u003cp>“The more individual success stories you create, you raise the economy of the region,” says Ghazi. “When you raise the overall economy of the region, people are less inclined to leave the region because they have something to do. And when people don’t leave, you keep the talent in.”\u003c/p>\n\u003cp>As a kid from Oakland who grew up listening to E-40 and Too $hort, as well as Messy Marv, JT the Bigga Figga, and San Quinn, I get it. We’re a vast region with different cultures in each city, neighborhood and block. That said, when one section is going about their business correctly, the honorable thing to do is give them a salute.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco, here’s to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Allows Indoor Concerts, Performances and Gatherings",
"headTitle": "San Francisco Allows Indoor Concerts, Performances and Gatherings | KQED",
"content": "\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>[aside postID='arts_13894499']Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13895321']“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13895594\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong.jpg\" alt=\"Khafre Jay at a mural he recently restored in Oakland's Chinatown.\" width=\"1080\" height=\"979\" class=\"size-full wp-image-13895594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-800x725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-1020x925.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-768x696.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Khafre Jay at a mural he recently restored in Oakland’s Chinatown. \u003ccite>(Brandon Wong )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“Stop Asian Hate” has been a hot topic of late, rivaling the Derek Chauvin trial as America’s most compelling and current racialized narrative. One emergent storyline has pitted Asians against another marginalized ethnic group, African-Americans. Yet activists, educators, artists, and community organizers in the Bay Area are creating an alternate narrative of Afro-Asian solidarity against what they see as both a common enemy and root cause: white supremacy.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s2\">Khafre Jay, Executive Director and founder of \u003ca href=\"https://www.hiphopforchange.org/\">\u003cspan class=\"s3\">Hip-Hop for Change\u003c/span>\u003c/a>, \u003c/span>\u003cspan class=\"s1\">relates how he grew up hardscrabble in Hunters Point; during the 90s, he roamed Muni lines robbing vulnerable passengers alongside his “Asian patnas.” That guy is not the same Jay of today, who speaks in both pragmatic and optimistic terms about principles of organizing and building effective movements which transcend racial and cultural lines.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">In early 2020, after an elderly Asian man was \u003ca href=\"https://abc7news.com/san-francisco-police-elderly-man-attacked-bayview-neighborhood-visitacion-valley/5964588/\">\u003cspan class=\"s4\">robbed\u003c/span>\u003c/a> and called racial slurs in a viral video which drew \u003ca href=\"https://sfist.com/2020/02/24/disgusting-twitter-video-shows-apparent-robbery-black-on-asian-racism/\">\u003cspan class=\"s4\">national media attention \u003c/span>\u003c/a>sensationalizing “Black-on-Asian racism,” Hip-Hop for Change held its first solidarity event, bringing together Chinese community organizations, Black community leaders, and local residents. “That was the beginning of my work with the solidarity stuff. When this stuff started popping off again, we started organizing again,” Jay says.\u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_13892437']\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">This past February, following the \u003ca href=\"https://people.com/crime/man-charged-attacks-elderly-oakland-chinatown/\">\u003cspan class=\"s4\">assaults\u003c/span>\u003c/a> of elderly Chinese by a homeless, mentally ill person who happened to be Black, Jay heard about a mural in Oakland Chinatown, painted during the George Floyd protests, that had been defaced. The message of “Black Power for Black People”—part of a racial solidarity theme—had been crossed out. He grabbed some acrylic paint and some brushes, drove out to the location, and restored the mural. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">While he was there, he received fearful looks from some elderly Asians, while other Chinatown denizens were more appreciative and welcoming when they saw him painting.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">“The Bay Area’s very interesting,” Jay says. “We’re so diverse. But we’re very segregated. And what that means is, our elders are having a very different experience than our young people.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Over the past few months, Hip Hop for Change has hosted three virtual solidarity-themed events online, and is planning a future collaboration with the Asian Art Museum. “What I’m trying to do is connect some of these young activists so we can create a groundswell that’s gonna get our elders to say, ‘Oh, I have some hope maybe something can change.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/KevChoice.EmilyTian-800x600.jpg\" alt=\"Emily Tian and Kev Choice have collaborated for live performances and developing curricula.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Tian and Kev Choice have collaborated for live performances and developing curricula. \u003ccite>(Courtesy Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Oakland composer and educator Kev Choice said he’s feeling “a lot of pain from the violence against the Asian community, from the trauma and just all of the historical things that it brings up.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\"> Like Jay, Choice grew up around Asian people, and in the past, he’s collaborated with fellow Oakland School for the Arts faculty member Emily Tian in live performance and developing curricula. When tensions started to rise, he, too, saw the opportunity to counter the divisive rhetoric.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Choice and his fellow Cultural Arts Commissioners Michelle “Mush” Lee and Roy Chan co-produced “\u003ca href=\"https://www.facebook.com/watch/live/?v=139418601386264&ref=watch_permalink\">\u003cspan class=\"s4\">Stories of Solidarity\u003c/span>\u003c/a>,” a virtual town hall with Oakland City Council President Nikki Bas, whose district includes Chinatown. The event featured live music, visual art, and spoken word performances—including two new Choice compositions incorporating a traditional Chinese instrument, the erhu. “I knew that would be a powerful example of solidarity,” he said. “Two cultures coming together that we don’t often see.”\u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_13882499']Oakland’s Cultural Arts Commission—reconstituted in 2020 after being dormant for almost a decade—had never weighed in previously on issues of such gravity. “If we’re gonna sit on this seat, it’s only right to use that Commission as a voice and set an example,” Choice said.\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s5\">Roy \u003c/span>\u003cspan class=\"s1\">Chan, best known for the \u003ca href=\"https://oacc.cc/oakland-chinatown-oral-history-project/\">\u003cspan class=\"s4\">Chinatown Oral History Project\u003c/span>\u003c/a>, says the pandemic has further isolated ethnic communities from each other. “Then you throw in the increased mental illness and trauma that’s happening that leads to violence out there that we’ve been seeing the last few weeks,” he says. “Elders who have been perceived as the victims in these attacks feel like they’re suffering alone. In some cases, small businesses feel like they’re suffering alone, and they have to suffer against people on the outside. Those sentiments add to the challenge that we have.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">He adds that cultural practitioners are particularly well-suited to address issues that require bringing people together to find solutions. “The arts remind us that we are connected to each other, through music, through spoken word and all the other ways we’ve been communicating with each other.”\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Hip-hop culture has been at the forefront of multiculturalism, Choice says, noting that Asian people have long been active in b-boying, turntablism and aerosol arts. The culture has “risen above all of these historical differences, these historical tensions, and brought people together. If that is one element that we know as a unifier and also a communicator, that needs to be a driving force behind these conversations.”\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=poPAiBP0Ue4\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">As for Asian MCs, few are more prolific than\u003cb> \u003c/b>Lyrics Born, the Japanese-Italian American rapper and mainstay of the legendary Quannum collective. Born just released a \u003ca href=\"https://cutso.bandcamp.com/album/lyrics-born-cutso-anti\">\u003cspan class=\"s4\">new single\u003c/span>\u003c/a>, “Anti,” that speaks directly to the current climate, linking it to attempts to blame the pandemic on Asians: “COVID ain’t the most contagious disease / Racism’s number one and the hatred it breeds.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">The song exemplifies what Choice maintains about the power of hip-hop as a vehicle for social commentary and solidarity. “The cultural aspect of it, that’s the one thing that can build that commonality, that can build that togetherness, that can build that unity. It’s been there, but it’s about us remembering and highlighting it and getting back to that essence of creativity, expression and culture.”\u003c/span>\u003c/p>\n\u003cp>[aside postID='news_11865171']Solidarity has also been the topic du jour on several other recent discussions in the Bay Area. Bas recently convened a\u003ca href=\"https://www.facebook.com/Nikki4Oakland/videos/464294491613441\">\u003cspan class=\"s4\"> town hall \u003c/span>\u003c/a>chat with fellow councilmember Carroll Fife, who is African American, countering a \u003ca href=\"https://www.newsweek.com/black-asian-communities-fed-being-pitted-against-each-other-city-officials-1568410?fbclid=IwAR2TDIBTBz4FomQ8koSSCf62rVRZJ4rjuTAFFbrj8bDwWkRR7GbUs4S_pMo\">\u003cspan class=\"s4\">narrative\u003c/span>\u003c/a> by Oakland mayor Libby Schaff that falsely blamed the council president for recent cuts in police services to Chinatown. Bas actively supported Black Solidarity Week, and later appeared on a Commonwealth Club \u003ca href=\"https://www.commonwealthclub.org/events/2021-03-11/addressing-anti-asian-violence\">\u003cspan class=\"s4\">panel \u003c/span>\u003c/a>against anti-Asian violence, in which she advocated for replacing Oakland police officers with mental health professionals on 911 calls involving mental health crises. (The city is currently developing a program called \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/03/17/oakland-advances-macro-plan-for-mental-health-crisis-response-not-involving-police/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s6\">MACRO\u003c/span>\u003c/a> to do just that.) \u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">This past March, Oakland-based Hip Hop TV hosted a “Solutions Only” \u003ca href=\"https://hiphoptv.com/video/solutions-conference-03112021/?fbclid=IwAR0fEopiTNx479EqmNaXc93us2uhJjZLzG6Yr1B4gD3Y-7iGq7zyM1N8FS0\">\u003cspan class=\"s4\">panel discussion\u003c/span>\u003c/a> that convened a multiethnic, cross-generational group to identify pathways moving forward. A key takeaway was the idea that the present moment is informed by efforts of the past.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">“Even before the pandemic, in the educational arena, there was a lot lacking and a lot to be desired,” said panelist and former Black Panther Party member Dr. Saturu Ned. He pointed to the Panthers’ community service programs, noting that the majority of the organization’s members were teenagers or young adults. “In terms of young people coming together, we began to understand the aspect of how we work together.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">One of the Panther programs, he related, was the Third World Alliance, composed of “Asian students, Black students, Latino students. We all came together.” It’s crucial, he said, to study the racial solidarity efforts of the past “to relieve some of this mental anguish” which may exacerbate trauma already impacting communities of color.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-800x450.jpg\" alt='Tao Shi, Kev Choice and Howard Wiley (L–R) perform in Chinese Garden Park in Oakland. Adding an ehru to his jazz ensemble was \"a powerful example of solidarity,\" says Choice.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13895593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_.jpg 812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tao Shi, Kev Choice and Howard Wiley (L–R) perform in Chinese Garden Park in Oakland. Adding an ehru to his jazz ensemble was “a powerful example of solidarity,” says Choice. \u003ccite>(Courtesy Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Former Oakland School Board member Jumoke Hinton Hodge commented that youth voices need to be heard more within public education circles; to that end, OUSD’s \u003ca href=\"https://www.ousd.org/equity\">\u003cspan class=\"s4\">Office of Equity\u003c/span>\u003c/a> has been engaging AAPI, Afro-Latino, and Middle Eastern/North African students and amplifying their voices through a series of solidarity-themed events and activities.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Still another cross-cultural \u003ca href=\"https://www.twitch.tv/videos/967112367\">\u003cspan class=\"s4\">panel\u003c/span>\u003c/a>, convened by Filipino-American DJ Ren Salgado for his True Skool platform, brought more even voices into the conversation. The discussion grew tense when venerable Oakland aerosol artist Refa One went in on Asian-Black relations, demanding stronger Asian advocacy against Chinese anti-Blackness and neo-colonialism in Africa as a precondition for allyship.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Jay and Choice both say building racial solidarity doesn’t necessarily require that everyone be perfect allies. What’s critical is to take a stand against a common source of oppression and go from there. As Chan notes, “We have shared interests, we have shared values, we have a shared history in oppression, and we have a shared interest in pushing the powers that be that [are] impacting our communities collectively.”\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Reaching out to emergent, youth-led organizations like Asians With Attitude is a priority for both Jay and Hip-Hop TV CEO Shawn Granberry. Choice, meanwhile, says he’s still processing the “Stories of Solidarity” event, and considering future cross-cultural collaborations and embracing more worldly elements in his music. As the national conversation continues to evolve, the Bay Area conversation continues to move forward with purpose and intentionality.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Not only is this an ongoing situation,” Jay says, “but I think it’s an optimal opportunity to impact change and organize.”\u003c/p>\n\n",
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"excerpt": "The work continues in Oakland as cultural leaders and organizations bridge differences. ",
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"title": "In Oakland, Building Black and Asian Solidarity at the Street Level | KQED",
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"headline": "In Oakland, Building Black and Asian Solidarity at the Street Level",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13895594\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong.jpg\" alt=\"Khafre Jay at a mural he recently restored in Oakland's Chinatown.\" width=\"1080\" height=\"979\" class=\"size-full wp-image-13895594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-800x725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-1020x925.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-160x145.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Khafre.CRED_.BrandonWong-768x696.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Khafre Jay at a mural he recently restored in Oakland’s Chinatown. \u003ccite>(Brandon Wong )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“Stop Asian Hate” has been a hot topic of late, rivaling the Derek Chauvin trial as America’s most compelling and current racialized narrative. One emergent storyline has pitted Asians against another marginalized ethnic group, African-Americans. Yet activists, educators, artists, and community organizers in the Bay Area are creating an alternate narrative of Afro-Asian solidarity against what they see as both a common enemy and root cause: white supremacy.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s2\">Khafre Jay, Executive Director and founder of \u003ca href=\"https://www.hiphopforchange.org/\">\u003cspan class=\"s3\">Hip-Hop for Change\u003c/span>\u003c/a>, \u003c/span>\u003cspan class=\"s1\">relates how he grew up hardscrabble in Hunters Point; during the 90s, he roamed Muni lines robbing vulnerable passengers alongside his “Asian patnas.” That guy is not the same Jay of today, who speaks in both pragmatic and optimistic terms about principles of organizing and building effective movements which transcend racial and cultural lines.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">In early 2020, after an elderly Asian man was \u003ca href=\"https://abc7news.com/san-francisco-police-elderly-man-attacked-bayview-neighborhood-visitacion-valley/5964588/\">\u003cspan class=\"s4\">robbed\u003c/span>\u003c/a> and called racial slurs in a viral video which drew \u003ca href=\"https://sfist.com/2020/02/24/disgusting-twitter-video-shows-apparent-robbery-black-on-asian-racism/\">\u003cspan class=\"s4\">national media attention \u003c/span>\u003c/a>sensationalizing “Black-on-Asian racism,” Hip-Hop for Change held its first solidarity event, bringing together Chinese community organizations, Black community leaders, and local residents. “That was the beginning of my work with the solidarity stuff. When this stuff started popping off again, we started organizing again,” Jay says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">This past February, following the \u003ca href=\"https://people.com/crime/man-charged-attacks-elderly-oakland-chinatown/\">\u003cspan class=\"s4\">assaults\u003c/span>\u003c/a> of elderly Chinese by a homeless, mentally ill person who happened to be Black, Jay heard about a mural in Oakland Chinatown, painted during the George Floyd protests, that had been defaced. The message of “Black Power for Black People”—part of a racial solidarity theme—had been crossed out. He grabbed some acrylic paint and some brushes, drove out to the location, and restored the mural. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">While he was there, he received fearful looks from some elderly Asians, while other Chinatown denizens were more appreciative and welcoming when they saw him painting.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">“The Bay Area’s very interesting,” Jay says. “We’re so diverse. But we’re very segregated. And what that means is, our elders are having a very different experience than our young people.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Over the past few months, Hip Hop for Change has hosted three virtual solidarity-themed events online, and is planning a future collaboration with the Asian Art Museum. “What I’m trying to do is connect some of these young activists so we can create a groundswell that’s gonna get our elders to say, ‘Oh, I have some hope maybe something can change.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/KevChoice.EmilyTian-800x600.jpg\" alt=\"Emily Tian and Kev Choice have collaborated for live performances and developing curricula.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13895592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/KevChoice.EmilyTian-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Tian and Kev Choice have collaborated for live performances and developing curricula. \u003ccite>(Courtesy Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Oakland composer and educator Kev Choice said he’s feeling “a lot of pain from the violence against the Asian community, from the trauma and just all of the historical things that it brings up.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\"> Like Jay, Choice grew up around Asian people, and in the past, he’s collaborated with fellow Oakland School for the Arts faculty member Emily Tian in live performance and developing curricula. When tensions started to rise, he, too, saw the opportunity to counter the divisive rhetoric.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Choice and his fellow Cultural Arts Commissioners Michelle “Mush” Lee and Roy Chan co-produced “\u003ca href=\"https://www.facebook.com/watch/live/?v=139418601386264&ref=watch_permalink\">\u003cspan class=\"s4\">Stories of Solidarity\u003c/span>\u003c/a>,” a virtual town hall with Oakland City Council President Nikki Bas, whose district includes Chinatown. The event featured live music, visual art, and spoken word performances—including two new Choice compositions incorporating a traditional Chinese instrument, the erhu. “I knew that would be a powerful example of solidarity,” he said. “Two cultures coming together that we don’t often see.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakland’s Cultural Arts Commission—reconstituted in 2020 after being dormant for almost a decade—had never weighed in previously on issues of such gravity. “If we’re gonna sit on this seat, it’s only right to use that Commission as a voice and set an example,” Choice said.\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s5\">Roy \u003c/span>\u003cspan class=\"s1\">Chan, best known for the \u003ca href=\"https://oacc.cc/oakland-chinatown-oral-history-project/\">\u003cspan class=\"s4\">Chinatown Oral History Project\u003c/span>\u003c/a>, says the pandemic has further isolated ethnic communities from each other. “Then you throw in the increased mental illness and trauma that’s happening that leads to violence out there that we’ve been seeing the last few weeks,” he says. “Elders who have been perceived as the victims in these attacks feel like they’re suffering alone. In some cases, small businesses feel like they’re suffering alone, and they have to suffer against people on the outside. Those sentiments add to the challenge that we have.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">He adds that cultural practitioners are particularly well-suited to address issues that require bringing people together to find solutions. “The arts remind us that we are connected to each other, through music, through spoken word and all the other ways we’ve been communicating with each other.”\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Hip-hop culture has been at the forefront of multiculturalism, Choice says, noting that Asian people have long been active in b-boying, turntablism and aerosol arts. The culture has “risen above all of these historical differences, these historical tensions, and brought people together. If that is one element that we know as a unifier and also a communicator, that needs to be a driving force behind these conversations.”\u003c/span>\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/poPAiBP0Ue4'\n title='//www.youtube.com/embed/poPAiBP0Ue4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp class=\"p3\">\u003cspan class=\"s1\">As for Asian MCs, few are more prolific than\u003cb> \u003c/b>Lyrics Born, the Japanese-Italian American rapper and mainstay of the legendary Quannum collective. Born just released a \u003ca href=\"https://cutso.bandcamp.com/album/lyrics-born-cutso-anti\">\u003cspan class=\"s4\">new single\u003c/span>\u003c/a>, “Anti,” that speaks directly to the current climate, linking it to attempts to blame the pandemic on Asians: “COVID ain’t the most contagious disease / Racism’s number one and the hatred it breeds.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">The song exemplifies what Choice maintains about the power of hip-hop as a vehicle for social commentary and solidarity. “The cultural aspect of it, that’s the one thing that can build that commonality, that can build that togetherness, that can build that unity. It’s been there, but it’s about us remembering and highlighting it and getting back to that essence of creativity, expression and culture.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Solidarity has also been the topic du jour on several other recent discussions in the Bay Area. Bas recently convened a\u003ca href=\"https://www.facebook.com/Nikki4Oakland/videos/464294491613441\">\u003cspan class=\"s4\"> town hall \u003c/span>\u003c/a>chat with fellow councilmember Carroll Fife, who is African American, countering a \u003ca href=\"https://www.newsweek.com/black-asian-communities-fed-being-pitted-against-each-other-city-officials-1568410?fbclid=IwAR2TDIBTBz4FomQ8koSSCf62rVRZJ4rjuTAFFbrj8bDwWkRR7GbUs4S_pMo\">\u003cspan class=\"s4\">narrative\u003c/span>\u003c/a> by Oakland mayor Libby Schaff that falsely blamed the council president for recent cuts in police services to Chinatown. Bas actively supported Black Solidarity Week, and later appeared on a Commonwealth Club \u003ca href=\"https://www.commonwealthclub.org/events/2021-03-11/addressing-anti-asian-violence\">\u003cspan class=\"s4\">panel \u003c/span>\u003c/a>against anti-Asian violence, in which she advocated for replacing Oakland police officers with mental health professionals on 911 calls involving mental health crises. (The city is currently developing a program called \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/03/17/oakland-advances-macro-plan-for-mental-health-crisis-response-not-involving-police/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s6\">MACRO\u003c/span>\u003c/a> to do just that.) \u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">This past March, Oakland-based Hip Hop TV hosted a “Solutions Only” \u003ca href=\"https://hiphoptv.com/video/solutions-conference-03112021/?fbclid=IwAR0fEopiTNx479EqmNaXc93us2uhJjZLzG6Yr1B4gD3Y-7iGq7zyM1N8FS0\">\u003cspan class=\"s4\">panel discussion\u003c/span>\u003c/a> that convened a multiethnic, cross-generational group to identify pathways moving forward. A key takeaway was the idea that the present moment is informed by efforts of the past.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">“Even before the pandemic, in the educational arena, there was a lot lacking and a lot to be desired,” said panelist and former Black Panther Party member Dr. Saturu Ned. He pointed to the Panthers’ community service programs, noting that the majority of the organization’s members were teenagers or young adults. “In terms of young people coming together, we began to understand the aspect of how we work together.” \u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">One of the Panther programs, he related, was the Third World Alliance, composed of “Asian students, Black students, Latino students. We all came together.” It’s crucial, he said, to study the racial solidarity efforts of the past “to relieve some of this mental anguish” which may exacerbate trauma already impacting communities of color.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-800x450.jpg\" alt='Tao Shi, Kev Choice and Howard Wiley (L–R) perform in Chinese Garden Park in Oakland. Adding an ehru to his jazz ensemble was \"a powerful example of solidarity,\" says Choice.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13895593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Erhu.Kev_.Wiley_.jpg 812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tao Shi, Kev Choice and Howard Wiley (L–R) perform in Chinese Garden Park in Oakland. Adding an ehru to his jazz ensemble was “a powerful example of solidarity,” says Choice. \u003ccite>(Courtesy Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Former Oakland School Board member Jumoke Hinton Hodge commented that youth voices need to be heard more within public education circles; to that end, OUSD’s \u003ca href=\"https://www.ousd.org/equity\">\u003cspan class=\"s4\">Office of Equity\u003c/span>\u003c/a> has been engaging AAPI, Afro-Latino, and Middle Eastern/North African students and amplifying their voices through a series of solidarity-themed events and activities.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Still another cross-cultural \u003ca href=\"https://www.twitch.tv/videos/967112367\">\u003cspan class=\"s4\">panel\u003c/span>\u003c/a>, convened by Filipino-American DJ Ren Salgado for his True Skool platform, brought more even voices into the conversation. The discussion grew tense when venerable Oakland aerosol artist Refa One went in on Asian-Black relations, demanding stronger Asian advocacy against Chinese anti-Blackness and neo-colonialism in Africa as a precondition for allyship.\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Jay and Choice both say building racial solidarity doesn’t necessarily require that everyone be perfect allies. What’s critical is to take a stand against a common source of oppression and go from there. As Chan notes, “We have shared interests, we have shared values, we have a shared history in oppression, and we have a shared interest in pushing the powers that be that [are] impacting our communities collectively.”\u003c/span>\u003c/p>\n\u003cp class=\"p3\">\u003cspan class=\"s1\">Reaching out to emergent, youth-led organizations like Asians With Attitude is a priority for both Jay and Hip-Hop TV CEO Shawn Granberry. Choice, meanwhile, says he’s still processing the “Stories of Solidarity” event, and considering future cross-cultural collaborations and embracing more worldly elements in his music. As the national conversation continues to evolve, the Bay Area conversation continues to move forward with purpose and intentionality.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Not only is this an ongoing situation,” Jay says, “but I think it’s an optimal opportunity to impact change and organize.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For a Young Girl in the Bay Area, DMX Made Sense of Life's Emotional Complexities",
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"content": "\u003cp>When I was twelve years old, I’d ride BART each week to \u003ca href=\"https://mccatheater.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Arts Center\u003c/a> in Oakland to attend hip-hop dance class. There, one of the first dance routines I learned was set to DMX’s “\u003ca href=\"https://www.youtube.com/watch?v=ThlhSnRk21E\" rel=\"noopener noreferrer\" target=\"_blank\">Ruff Ryders Anthem\u003c/a>.” \u003c/p>\n\u003cp>Can you imagine a room full of pre-teen Black girls, giving their heart and soul to movement, while DMX’s voice rings out with passion over Swizz Beatz’s siren-like production? To this day, it’s one of the most exhilarating dance performances I’ve ever done. We didn’t really know what the song was about, but we felt the urgency in DMX’s voice, and it made us feel alive. Like we could dance forever.\u003c/p>\n\u003cp>[aside postID='arts_13895484']This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4AognXgM9FQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9Ww-TQUeA3E\u003c/p>\n\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \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/4AognXgM9FQ'\n title='//www.youtube.com/embed/4AognXgM9FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\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/9Ww-TQUeA3E'\n title='//www.youtube.com/embed/9Ww-TQUeA3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"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/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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": {
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"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"
}
},
"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/",
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},
"link": "/radio/program/pbs-newshour",
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"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 daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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