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"content": "\u003cp>They may be two of the most influential notes in funk-rock history: the soaring, plaintive start to guitarist Eddie Hazel’s legendary solo in Funkadelic’s “Maggot Brain.”\u003c/p>\n\u003cp>The song, an audacious, emotive 10-minute-long bluesy ballad kicked off by a brief, eccentric poem from leader \u003ca href=\"https://www.npr.org/artists/15163941/george-clinton\">George Clinton\u003c/a>, is centered on Hazel’s expansive fretwork. Clinton pulls the bass guitar and drums mostly out of the mix, leaving the sonic field free for sparse backing chords on rhythm guitar and a fiery workout by Hazel fed through a boatload of echo effects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T1NW57lk5fY\u003c/p>\n\u003cp>Both the song and \u003ca href=\"https://georgeclinton.com/audio/funkadelic-maggot-brain/\">the album that shares its title\u003c/a> were released 50 years ago, in July 1971. Clinton celebrates his own 80th birthday today, July 22.\u003c/p>\n\u003cp>And while there are many music fans out there who might not recognize the song or Hazel’s name, artists ranging from the \u003ca href=\"https://metalheadzone.com/red-hot-chili-peppers-bassist-flea-plays-the-song-that-cause-pain-in-his-heart/\">Red Hot Chili Peppers\u003c/a> to \u003ca href=\"https://liveforlivemusic.com/news/widespread-panic-played-funkadelics-maggot-brain-last-night-and-jimmy-herring-crushed-it/\">Widespread Panic\u003c/a> and \u003ca href=\"https://www.thefader.com/2016/11/17/donald-glover-childish-gambino-funkadelic-interview-awaken-my-love\">Childish Gambino\u003c/a> have acknowledged how Funkadelic’s magnum opus inspired their own artistic work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s [an] indelible statement for the ages,” says Vernon Reid, lead guitarist for Grammy-winning rockers \u003ca href=\"http://livingcolour.com/\">Living Colour\u003c/a>. “It’s a piece of music to evoke the ghosts of the past. It evokes the suffering. It evokes the joy. It’s a masterwork.”\u003c/p>\n\u003cp>Cultural critic and author \u003ca href=\"https://www.burntsugarindex.com/artist/greg-tate/\">Greg Tate\u003c/a>, a founding member of the \u003ca href=\"http://blackrockcoalition.org/\">Black Rock Coalition\u003c/a>, compares “Maggot Brain” to iconic jazz saxophonist John Coltrane’s \u003ca href=\"https://www.npr.org/2021/02/02/961773250/saint-coltrane-the-church-built-on-a-love-supreme#:~:text=John%20Coltrane%20Church%20Built%20On%20A%20Love%20Supreme%20%3A%20NPR&text=John%20Coltrane%20Church%20Built%20On%20A%20Love%20Supreme%20Jazz%20Night,as%20their%20chief%20liturgical%20text.\">\u003cem>A Love Supreme\u003c/em>\u003c/a>: a towering artistic statement that had a significant impact on a generation of players.\u003c/p>\n\u003cp>“Eddie has this thing that just comes out of his own kinda anguish and sorrow that he translates,” Tate says. “There’s a cry in every note.”\u003c/p>\n\u003cp>Clinton, the great granddaddy of funk rock himself, says he told Hazel just before recording “Maggot Brain” to play as if someone had told him his mother died.\u003c/p>\n\u003cp>“All of it is feeling,” Clinton says. “Eddie is playing all the feeling in the world. He’s sensitive to no end… just a big ball of sensitivity. My mother used to call him ‘Ol’ Cryin’ Eddie.’ He could cry so good [on guitar], it was pretty.”\u003c/p>\n\u003cp>Clinton says the enduring nature of \u003cem>Maggot Brain\u003c/em> was all part of his plan; passing up pop singles to focus on creating a song and album that fans might return to decades later.\u003c/p>\n\u003cp>But how did a group that started as a Motown-style R&B outfit unleash one of the most important guitar anthems of the decade?\u003c/p>\n\u003cp>\u003cstrong>Moving Away From Motown’s Style\u003c/strong>\u003c/p>\n\u003cp>The journey towards \u003cem>Maggot Brain\u003c/em> reaches back to 1967, when a different group led by Clinton called The Parliaments had a hit with an uptempo dance number called \u003ca href=\"https://youtu.be/OJW643hIKMw\">“(I Wanna) Testify.”\u003c/a>\u003c/p>\n\u003cp>The Parliaments were a Temptations-style singing group; “Testify” was a typical midtempo groove about a man in love. But Clinton, who had enlisted a teenage Eddie Hazel to back the Parliaments on tour, was increasingly drawn to blending psychedelic rock sounds with funk grooves—especially when The Parliaments went on tour with hard rock bands.\u003c/p>\n\u003cp>“\u003ca href=\"https://youtu.be/vaiTEQc_y4o\">Vanilla Fudge\u003c/a> was one of the groups we went out with,” Clinton says. “But we didn’t have no instruments, so we borrowed the Vanilla Fudge’s instruments. That stuff was so loud. But we realized, right then, this is what it is that made them sound like that.”\u003c/p>\n\u003cp>Vernon Reid says Clinton once told him that the psychedelic era and Summer of Love were life-changing experiences.\u003c/p>\n\u003cp>“He spoke about how it’s the first time he met white people who were genuinely kind and genuinely nice,” Reid recalls. “He felt the people he met back then would literally give you the shirt off their backs.”\u003c/p>\n\u003cp>The Parliaments backing band evolved into a rock-edged group called Funkadelic. And they emerged at a pivotal time in music.\u003c/p>\n\u003cp>Virtuoso rock star Jimi Hendrix died in 1970, leaving legions of guitarists – especially Black musicians like guitar phenom Eddie Hazel – wondering how to take up and extend his legacy.\u003c/p>\n\u003cp>At the same time, R&B stars like Stevie Wonder, Marvin Gaye and the Temptations were looking to break the straitjacket of their traditional approaches and experiment with new sounds.\u003c/p>\n\u003cp>As Funkadelic made its early records, Clinton noticed white rock bands – and their audiences — were focused on blues artists his mother liked from years ago. He reasoned: If he could take an old blues groove and modernize it, maybe he could create something audiences would also come back to 15 years later.\u003c/p>\n\u003cp>“\u003cem>Maggot Brain\u003c/em> was the epitome of that era,” Clinton says. “Us flirting with psychedelic…I call it ‘loud R&B.’ So we called it Funkadelic.”\u003c/p>\n\u003cfigure id=\"attachment_13900269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13900269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">British-born Rock musician Vernon Reid (fore) plays guitar as he performs with his band, Living Colour, New York, 1980s. Also visible are American bandmates Muzz Skillings (center, rear), on bass guitar, and vocalist Corey Glover. \u003ccite>(Anthony Barboza/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Building the Sound of “Maggot Brain”\u003c/strong>\u003c/p>\n\u003cp>Clinton came up with a 10-minute ballad where he unleashed Hazel, who had been listening to records he gave him by Hendrix, Sly Stone and Cream. The whole band played with Hazel in the studio, but Clinton pulled most of the bass and drums out of the sound mix, leaving room to layer even more echo effects on the guitar.\u003c/p>\n\u003cp>The result was an inspirational tour de force.\u003c/p>\n\u003cp>“It was a movement,” Greg Tate says. “Basically, what everyone learned from Sly and Jimi was that you didn’t have to have a lead singer. You just needed to have a great band.”\u003c/p>\n\u003cp>DeWayne “Blackbyrd” McKnight joined Clinton’s revolving door of P-Funk musicians and bands in 1978. He says when he heard “Maggot Brain” – well before he would wind up playing the song onstage with Eddie Hazel — it meant something to see a Black man stepping up as a rock guitar hero.\u003c/p>\n\u003cp>“It was inspiring…a different form of rock ‘n’ roll that I was identifying with,” McKnight adds. “It gave me an avenue to go ahead and explore things I was already playing.”\u003c/p>\n\u003cp>Hazel died in 1992. And although funk-rock fans may know the guitarist’s name, Reid says Black guitar heroes like Hazel and Ernie Isley from The Isley Brothers were often overlooked — left off the cover of music magazines by a white-dominated music establishment that didn’t quite accept them.\u003c/p>\n\u003cp>“They were denied their rightful place: no two ways about it,” says Reid, who has landed on some of those magazine covers himself. “I feel very grateful. I wouldn’t exist without these brothers that did their thing. But it was wild to me… that guitar was such a polarized area.”\u003c/p>\n\u003cp>Clinton, who later developed a more commercial sound with the funk-oriented band \u003ca href=\"https://www.npr.org/artists/15163944/parliament\">Parliament\u003c/a>, still plays “Maggot Brain”\u003cem> \u003c/em>in live shows, watching his theories about building an audience over generations play out in real time.\u003c/p>\n\u003cp>“We were too white for Black folks and too Black for white folks,” he adds. “But the people that really liked us, stayed with us forever. The Grateful Dead, Widespread Panic—all of us have the same kinds of fans. The grandparents would be there with their kids. It’s like going to the circus.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Somewhere, you might imagine Eddie Hazel looking down and smiling at the revolution he helped inspire. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Funkadelic%27s+%27Maggot+Brain%27+At+50%3A+R%26B%2C+Psychedelic+Rock+And+A+Black+Guitarist%27s+Cry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They may be two of the most influential notes in funk-rock history: the soaring, plaintive start to guitarist Eddie Hazel’s legendary solo in Funkadelic’s “Maggot Brain.”\u003c/p>\n\u003cp>The song, an audacious, emotive 10-minute-long bluesy ballad kicked off by a brief, eccentric poem from leader \u003ca href=\"https://www.npr.org/artists/15163941/george-clinton\">George Clinton\u003c/a>, is centered on Hazel’s expansive fretwork. Clinton pulls the bass guitar and drums mostly out of the mix, leaving the sonic field free for sparse backing chords on rhythm guitar and a fiery workout by Hazel fed through a boatload of echo effects.\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/T1NW57lk5fY'\n title='//www.youtube.com/embed/T1NW57lk5fY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Both the song and \u003ca href=\"https://georgeclinton.com/audio/funkadelic-maggot-brain/\">the album that shares its title\u003c/a> were released 50 years ago, in July 1971. Clinton celebrates his own 80th birthday today, July 22.\u003c/p>\n\u003cp>And while there are many music fans out there who might not recognize the song or Hazel’s name, artists ranging from the \u003ca href=\"https://metalheadzone.com/red-hot-chili-peppers-bassist-flea-plays-the-song-that-cause-pain-in-his-heart/\">Red Hot Chili Peppers\u003c/a> to \u003ca href=\"https://liveforlivemusic.com/news/widespread-panic-played-funkadelics-maggot-brain-last-night-and-jimmy-herring-crushed-it/\">Widespread Panic\u003c/a> and \u003ca href=\"https://www.thefader.com/2016/11/17/donald-glover-childish-gambino-funkadelic-interview-awaken-my-love\">Childish Gambino\u003c/a> have acknowledged how Funkadelic’s magnum opus inspired their own artistic work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s [an] indelible statement for the ages,” says Vernon Reid, lead guitarist for Grammy-winning rockers \u003ca href=\"http://livingcolour.com/\">Living Colour\u003c/a>. “It’s a piece of music to evoke the ghosts of the past. It evokes the suffering. It evokes the joy. It’s a masterwork.”\u003c/p>\n\u003cp>Cultural critic and author \u003ca href=\"https://www.burntsugarindex.com/artist/greg-tate/\">Greg Tate\u003c/a>, a founding member of the \u003ca href=\"http://blackrockcoalition.org/\">Black Rock Coalition\u003c/a>, compares “Maggot Brain” to iconic jazz saxophonist John Coltrane’s \u003ca href=\"https://www.npr.org/2021/02/02/961773250/saint-coltrane-the-church-built-on-a-love-supreme#:~:text=John%20Coltrane%20Church%20Built%20On%20A%20Love%20Supreme%20%3A%20NPR&text=John%20Coltrane%20Church%20Built%20On%20A%20Love%20Supreme%20Jazz%20Night,as%20their%20chief%20liturgical%20text.\">\u003cem>A Love Supreme\u003c/em>\u003c/a>: a towering artistic statement that had a significant impact on a generation of players.\u003c/p>\n\u003cp>“Eddie has this thing that just comes out of his own kinda anguish and sorrow that he translates,” Tate says. “There’s a cry in every note.”\u003c/p>\n\u003cp>Clinton, the great granddaddy of funk rock himself, says he told Hazel just before recording “Maggot Brain” to play as if someone had told him his mother died.\u003c/p>\n\u003cp>“All of it is feeling,” Clinton says. “Eddie is playing all the feeling in the world. He’s sensitive to no end… just a big ball of sensitivity. My mother used to call him ‘Ol’ Cryin’ Eddie.’ He could cry so good [on guitar], it was pretty.”\u003c/p>\n\u003cp>Clinton says the enduring nature of \u003cem>Maggot Brain\u003c/em> was all part of his plan; passing up pop singles to focus on creating a song and album that fans might return to decades later.\u003c/p>\n\u003cp>But how did a group that started as a Motown-style R&B outfit unleash one of the most important guitar anthems of the decade?\u003c/p>\n\u003cp>\u003cstrong>Moving Away From Motown’s Style\u003c/strong>\u003c/p>\n\u003cp>The journey towards \u003cem>Maggot Brain\u003c/em> reaches back to 1967, when a different group led by Clinton called The Parliaments had a hit with an uptempo dance number called \u003ca href=\"https://youtu.be/OJW643hIKMw\">“(I Wanna) Testify.”\u003c/a>\u003c/p>\n\u003cp>The Parliaments were a Temptations-style singing group; “Testify” was a typical midtempo groove about a man in love. But Clinton, who had enlisted a teenage Eddie Hazel to back the Parliaments on tour, was increasingly drawn to blending psychedelic rock sounds with funk grooves—especially when The Parliaments went on tour with hard rock bands.\u003c/p>\n\u003cp>“\u003ca href=\"https://youtu.be/vaiTEQc_y4o\">Vanilla Fudge\u003c/a> was one of the groups we went out with,” Clinton says. “But we didn’t have no instruments, so we borrowed the Vanilla Fudge’s instruments. That stuff was so loud. But we realized, right then, this is what it is that made them sound like that.”\u003c/p>\n\u003cp>Vernon Reid says Clinton once told him that the psychedelic era and Summer of Love were life-changing experiences.\u003c/p>\n\u003cp>“He spoke about how it’s the first time he met white people who were genuinely kind and genuinely nice,” Reid recalls. “He felt the people he met back then would literally give you the shirt off their backs.”\u003c/p>\n\u003cp>The Parliaments backing band evolved into a rock-edged group called Funkadelic. And they emerged at a pivotal time in music.\u003c/p>\n\u003cp>Virtuoso rock star Jimi Hendrix died in 1970, leaving legions of guitarists – especially Black musicians like guitar phenom Eddie Hazel – wondering how to take up and extend his legacy.\u003c/p>\n\u003cp>At the same time, R&B stars like Stevie Wonder, Marvin Gaye and the Temptations were looking to break the straitjacket of their traditional approaches and experiment with new sounds.\u003c/p>\n\u003cp>As Funkadelic made its early records, Clinton noticed white rock bands – and their audiences — were focused on blues artists his mother liked from years ago. He reasoned: If he could take an old blues groove and modernize it, maybe he could create something audiences would also come back to 15 years later.\u003c/p>\n\u003cp>“\u003cem>Maggot Brain\u003c/em> was the epitome of that era,” Clinton says. “Us flirting with psychedelic…I call it ‘loud R&B.’ So we called it Funkadelic.”\u003c/p>\n\u003cfigure id=\"attachment_13900269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13900269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-528446836_wide-0b3764dd35da816fd2d6afe0c601ff4b4ee252e7-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">British-born Rock musician Vernon Reid (fore) plays guitar as he performs with his band, Living Colour, New York, 1980s. Also visible are American bandmates Muzz Skillings (center, rear), on bass guitar, and vocalist Corey Glover. \u003ccite>(Anthony Barboza/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Building the Sound of “Maggot Brain”\u003c/strong>\u003c/p>\n\u003cp>Clinton came up with a 10-minute ballad where he unleashed Hazel, who had been listening to records he gave him by Hendrix, Sly Stone and Cream. The whole band played with Hazel in the studio, but Clinton pulled most of the bass and drums out of the sound mix, leaving room to layer even more echo effects on the guitar.\u003c/p>\n\u003cp>The result was an inspirational tour de force.\u003c/p>\n\u003cp>“It was a movement,” Greg Tate says. “Basically, what everyone learned from Sly and Jimi was that you didn’t have to have a lead singer. You just needed to have a great band.”\u003c/p>\n\u003cp>DeWayne “Blackbyrd” McKnight joined Clinton’s revolving door of P-Funk musicians and bands in 1978. He says when he heard “Maggot Brain” – well before he would wind up playing the song onstage with Eddie Hazel — it meant something to see a Black man stepping up as a rock guitar hero.\u003c/p>\n\u003cp>“It was inspiring…a different form of rock ‘n’ roll that I was identifying with,” McKnight adds. “It gave me an avenue to go ahead and explore things I was already playing.”\u003c/p>\n\u003cp>Hazel died in 1992. And although funk-rock fans may know the guitarist’s name, Reid says Black guitar heroes like Hazel and Ernie Isley from The Isley Brothers were often overlooked — left off the cover of music magazines by a white-dominated music establishment that didn’t quite accept them.\u003c/p>\n\u003cp>“They were denied their rightful place: no two ways about it,” says Reid, who has landed on some of those magazine covers himself. “I feel very grateful. I wouldn’t exist without these brothers that did their thing. But it was wild to me… that guitar was such a polarized area.”\u003c/p>\n\u003cp>Clinton, who later developed a more commercial sound with the funk-oriented band \u003ca href=\"https://www.npr.org/artists/15163944/parliament\">Parliament\u003c/a>, still plays “Maggot Brain”\u003cem> \u003c/em>in live shows, watching his theories about building an audience over generations play out in real time.\u003c/p>\n\u003cp>“We were too white for Black folks and too Black for white folks,” he adds. “But the people that really liked us, stayed with us forever. The Grateful Dead, Widespread Panic—all of us have the same kinds of fans. The grandparents would be there with their kids. It’s like going to the circus.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somewhere, you might imagine Eddie Hazel looking down and smiling at the revolution he helped inspire. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Funkadelic%27s+%27Maggot+Brain%27+At+50%3A+R%26B%2C+Psychedelic+Rock+And+A+Black+Guitarist%27s+Cry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowish-trackademicks",
"title": "A Hyphy History with Producer Trackademicks",
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"content": "\u003cp>In 2006, when music producer \u003ca href=\"https://www.instagram.com/trackademicks/\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks\u003c/a> remixed the smash hit by E-40 and Keak Da Sneak, “Tell Me When To Go,” \u003ca href=\"https://www.youtube.com/watch?v=ii7QSbxg88w\" target=\"_blank\" rel=\"noopener noreferrer\">he created a cultural jewel\u003c/a> that sent waves throughout the Yay. The remix took a seminal song from the Hyphy Movement, added a unique wrinkle, and then proceeded to make faces melt.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ii7QSbxg88w\u003c/p>\n\u003cp>The track could be heard at pep rallies in the valley, in nightclubs in San Francisco and blasting out of the front grill speakers of Chevy vans as they smashed through Deep East Oakland.\u003c/p>\n\u003cp>Trackademicks, a half-Black and half-Filipino guy who was raised in Alameda, looks at his own lineage and says remixing things is in his DNA, literally.\u003c/p>\n\u003cp>It was already in the music too. The Hyphy movement has its own history of mixing genres, which allowed it to birth something unique in The Bay.\u003c/p>\n\u003cp>Now, as a number of rappers (\u003ca href=\"https://www.youtube.com/watch?v=Cc8oGJNUh2o&list=OLAK5uy_kS656OLwsYU_0N1YsfmLkv5bA3pQjr6Sc\" target=\"_blank\" rel=\"noopener noreferrer\">including Trackademicks\u003c/a>) make music that harkens back to that era, we thought it’d be a good time to discuss how the big sun glasses, fun dances, and uptempo music of the Hyphy Movement came to be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9687019930\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks. Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B. \u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySel0OB-TDw\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K71IXLQpGss\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoQ4AtsFWVM\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qMnTawcUZLQ\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b8kTV4VtKA\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v2QjOclOzkU\u003c/p>\n\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37_C3WaTNk\u003c/p>\n\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Before Hyphy Music there was Mobb Music, but Funk Music laid the foundation. ",
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"title": "A Hyphy History with Producer Trackademicks | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2006, when music producer \u003ca href=\"https://www.instagram.com/trackademicks/\" target=\"_blank\" rel=\"noopener noreferrer\">Trackademicks\u003c/a> remixed the smash hit by E-40 and Keak Da Sneak, “Tell Me When To Go,” \u003ca href=\"https://www.youtube.com/watch?v=ii7QSbxg88w\" target=\"_blank\" rel=\"noopener noreferrer\">he created a cultural jewel\u003c/a> that sent waves throughout the Yay. The remix took a seminal song from the Hyphy Movement, added a unique wrinkle, and then proceeded to make faces melt.\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/ii7QSbxg88w'\n title='//www.youtube.com/embed/ii7QSbxg88w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The track could be heard at pep rallies in the valley, in nightclubs in San Francisco and blasting out of the front grill speakers of Chevy vans as they smashed through Deep East Oakland.\u003c/p>\n\u003cp>Trackademicks, a half-Black and half-Filipino guy who was raised in Alameda, looks at his own lineage and says remixing things is in his DNA, literally.\u003c/p>\n\u003cp>It was already in the music too. The Hyphy movement has its own history of mixing genres, which allowed it to birth something unique in The Bay.\u003c/p>\n\u003cp>Now, as a number of rappers (\u003ca href=\"https://www.youtube.com/watch?v=Cc8oGJNUh2o&list=OLAK5uy_kS656OLwsYU_0N1YsfmLkv5bA3pQjr6Sc\" target=\"_blank\" rel=\"noopener noreferrer\">including Trackademicks\u003c/a>) make music that harkens back to that era, we thought it’d be a good time to discuss how the big sun glasses, fun dances, and uptempo music of the Hyphy Movement came to be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9687019930\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks. Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B. \u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\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/ySel0OB-TDw'\n title='//www.youtube.com/embed/ySel0OB-TDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\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/K71IXLQpGss'\n title='//www.youtube.com/embed/K71IXLQpGss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk 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/AoQ4AtsFWVM'\n title='//www.youtube.com/embed/AoQ4AtsFWVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\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/qMnTawcUZLQ'\n title='//www.youtube.com/embed/qMnTawcUZLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\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/1b8kTV4VtKA'\n title='//www.youtube.com/embed/1b8kTV4VtKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\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/v2QjOclOzkU'\n title='//www.youtube.com/embed/v2QjOclOzkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\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/v37_C3WaTNk'\n title='//www.youtube.com/embed/v37_C3WaTNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The pairing of music and image seems like a given in the age of high-budget music videos and D.I.Y. TikTok lip syncs, but the connection wasn’t always that intuitive. Early 20th-century experimental animators like Mary Ellen Bute or Norman McLaren struggled mightily to reconcile the two disparate arts, creating abstract cartoons reminiscent of modernist painting to forge a new visual language. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This Friday and Saturday at the Tribune Tower parking lot, \u003ca href=\"https://www.instagram.com/loudcinema/\" target=\"_blank\" rel=\"noopener noreferrer\">Loud Cinema\u003c/a> and \u003ca href=\"https://smartbomboakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB\u003c/a> present the short films of Bute, McLaren, and other early 20th-century experimental filmmakers with freshly composed soundtracks by neo-soul singer Sandu Ndu, IDM nostalgist Xyla and experimental composer Imogen TV, among others. Also included in the program are video segments from the SMARTBOMB’s lockdown-era series of streamed concerts VIDEO HOME SYSTEM and live DJ sets by Caltrane, MiZU, and Lady Z. [aside postid='arts_13889170']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The works of Bute, for example, were originally scored to spidery, jazz-inflected modernist music like “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=czDsy8BYP1M\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tarantella\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” Replaced by the internet-y, lo-fi electronica favored by SMARTBOMB, these new film scores start an audiovisual conversation between two different generations of artists, separated by almost a century and yet united by living in a moment of technological sea change and new artistic possibilities.\u003c/span>\u003c/p>\n\u003cp>\u003cem>SMARTBOMB x Loud Cinema takes place on July 23 and 24. \u003ca href=\"https://www.eventbrite.com/e/smartbomb-x-loud-cinema-tickets-158757286317\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-J1xLRGvm5o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The works of Bute, for example, were originally scored to spidery, jazz-inflected modernist music like “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=czDsy8BYP1M\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tarantella\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” Replaced by the internet-y, lo-fi electronica favored by SMARTBOMB, these new film scores start an audiovisual conversation between two different generations of artists, separated by almost a century and yet united by living in a moment of technological sea change and new artistic possibilities.\u003c/span>\u003c/p>\n\u003cp>\u003cem>SMARTBOMB x Loud Cinema takes place on July 23 and 24. \u003ca href=\"https://www.eventbrite.com/e/smartbomb-x-loud-cinema-tickets-158757286317\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \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/-J1xLRGvm5o'\n title='//www.youtube.com/embed/-J1xLRGvm5o'\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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"title": "Stunnaman02 and the 'Big Steppin' Energy in the Room",
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"content": "\u003cp>I could write a whole book about the energy bouncing off the walls at Cornerstone in Berkeley on Saturday night—and specifically, from Stunnaman02.\u003c/p>\n\u003cp>I watched handshakes between reunited friends turn into palm-grasping mini-gig sessions. Airborne beach balls that drew people toward the stage. A sprayed bottle of champagne that caused them to retreat. At one point during the action-filled evening, a woman stood on the edge of the balcony, twerking a full story above the rest of the world.\u003c/p>\n\u003cp>All through the night, I watched energy emit from a crowd of true Bay Area hip-hop lovers. I took as many photos as I could, all the while knowing that capturing images doesn’t equate to capturing a vibe.\u003c/p>\n\u003cfigure id=\"attachment_13900090\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01441-800x535.jpg\" alt=\"Attendees hold up their phones, capturing footage of Nef The Pharaoh performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees hold up their phones while Nef The Pharaoh performs at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlined by \u003ca href=\"https://www.instagram.com/bosslifebigspence/\">BossLife Big Spence\u003c/a> and \u003ca href=\"https://www.instagram.com/10piecetone/\">10 Piece Tone\u003c/a>, the building played host to a wide array of Bay Area talent, including \u003ca href=\"https://www.instagram.com/y0ungbari/\">Young Bari\u003c/a>, \u003ca href=\"https://www.instagram.com/oskiedoubleff/\">Oskie\u003c/a>, \u003ca href=\"https://www.instagram.com/slimyani/\">Slim Yani\u003c/a>, and \u003ca href=\"https://www.instagram.com/nefthepharaoh/\">Nef The Pharaoh\u003c/a>.\u003c/p>\n\u003cp>I moved from the balcony to the front of the stage, taking photos and monitoring the energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I took note of how the vocals of one of the opening acts were drowned out by the recorded track that they were supposed to be rapping over. I acknowledged the way seasoned veterans, like Hieroglyphics’ \u003ca href=\"https://www.instagram.com/djtourehiero/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Toure\u003c/a> and San Francisco’s \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>, played the cut and let the youngsters turn up. I listened as \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a> managed the music on the ones and twos, and simultaneously controlled the amount of people on stage—or at least attempted to.\u003c/p>\n\u003cfigure id=\"attachment_13900089\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01486-800x535.jpg\" alt=\"10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I laughed at the way the thick weed smoke and lack of air conditioning made the term “hot box” an accurate double entendre. By the time the opening acts concluded, it was house-party hot inside of that joint. Then Stunnaman02 hit the stage, turning up the temperature, the energy, and every other lever he could find.\u003c/p>\n\u003cp>Stunnaman02 went from the edge of the stage to rapping in the middle of the crowd. I perched myself in the balcony to take bird’s eye view photos of his performance, only for him to run upstairs, past me, down the next stairway and eventually end up on top of the bar, rapping the whole time.\u003c/p>\n\u003cfigure id=\"attachment_13900091\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01419-800x535.jpg\" alt=\"A bird's eye view shot of Stunnaman02 standing on stage and performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A bird’s eye view shot of Stunnaman02 standing on stage and performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hailing from San Francisco, Stunnaman02 is the artist behind the high-energy track “\u003ca href=\"https://www.youtube.com/watch?v=h8T00Bx1eQ0\">Gut Check\u003c/a>,” and the more laid-back song “\u003ca href=\"https://www.youtube.com/watch?v=7remciyEOlg\">SloMo\u003c/a>.” He’s also the guy behind the regional hit that’s quickly becoming the Bay Area the song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\">Big Steppin\u003c/a>.”\u003c/p>\n\u003cp>Over the weekend a video surfaced of \u003ca href=\"https://twitter.com/TheThizzler/status/1415854066907942916?s=20\">Stunnaman02 and E-40\u003c/a> doing the \u003ca href=\"https://www.instagram.com/explore/tags/bigsteppin02challenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin Challenge\u003c/a>, a dance trend that rhythmically mimics the act of bench pressing. As of this article’s publication, Stunnaman02 has recorded 41 straight days of himself doing the dance, oftentimes appearing in notable Bay Area locations with other known artists.\u003c/p>\n\u003cp>Late last month, Stunnaman02 teamed up with fellow Fillmore artist and actor Gunna Goes Global to drop the uptempo album \u003ca href=\"https://album.link/i/1574456703\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Feel More\u003c/em>\u003c/a>. Stunnaman02, real name Jordan Gomes, is also an actor, featured alongside Gunna Goes Global in the film \u003ci>The Last Black Man in San Francisco.\u003c/i> And he plays the role of a cop in the web series\u003ca href=\"https://www.youtube.com/watch?v=8zOO8fQHsic\">\u003ci> Rent Check\u003c/i>\u003c/a>. On top of that, Stunnaman02 is an entrepreneur, \u003ca href=\"https://www.instagram.com/stillwinnin02/\">selling clothing \u003c/a>and a self-made beverage, 02 Juice. And if that’s not enough, Stunnaman02 was a part of a group that momentarily \u003ca href=\"https://www.youtube.com/watch?v=asjKLWaNWg8\" target=\"_blank\" rel=\"noopener noreferrer\">shut down the Bay Bridge\u003c/a> last year, protesting police brutality.\u003c/p>\n\u003cfigure id=\"attachment_13900087\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900087\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01433-800x535.jpg\" alt=\"A fan in a San Francisco Giants hat takes in Stunnaman02's performance, as the emcee perches on the bar in the back of the venue. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan in a San Francisco Giants hat takes in the show as Stunnaman02 perches on the bar in the back of the venue. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this to say: he’s an active dude. But he’s not just a hyphy-ass live wire.\u003c/p>\n\u003cp>At one of the last pre-pandemic events I attended, in February of 2020, I bumped into Stunnaman02 at Oakland’s Black Joy Parade. He was stopping anyone and everyone who would listen to him, asking nothing more than that person have a great day.\u003c/p>\n\u003cp>This past weekend, during the show at Cornerstone in Berkeley, he showed that same sincerity.\u003c/p>\n\u003cfigure id=\"attachment_13900092\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01405-800x535.jpg\" alt=\"Stunnaman02 stands in sea of people, performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 stands in sea of people, performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After tearing his shirt off and rocking the crowd, Stunnaman02 concluded his set with a prayer.\u003c/p>\n\u003cp>The crowd simmered as Stunnaman02 asked for the health of all of those in attendance. He rattled off a long list of specific types of health, including financial and mental. He then said the names of a couple of deceased friends, before screaming into the microphone, “WE STILL WINNING!”\u003c/p>\n\u003cfigure id=\"attachment_13900086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01500-800x535.jpg\" alt=\"10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists followed, and the show’s energy didn’t wane. Young Bari lit up the crowd when he came out giggin’ to his track “\u003ca href=\"https://youtu.be/EU1ryBN9fVw\" target=\"_blank\" rel=\"noopener noreferrer\">So Mobby\u003c/a>.” BossLife Big Spence and 10 Piece Tone rocked the stage for a few minutes, took a set break and doubled back with an outfit change—and then rocked the crowd some more.\u003c/p>\n\u003cp>My weary legs, fatigued from not attending a fully energized live hip-hop show in over a calendar year, told me it was time to leave. As I exited the building and made my way back out to the Berkeley streets, I saw producer \u003ca href=\"https://www.instagram.com/quakebeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Quakebeatz\u003c/a> and Stunnaman02, and used my last bit of energy to congratulate them on a successful show.\u003c/p>\n\u003cp>Looking back at the footage from that night, some true gems were documented. A \u003ca href=\"https://www.instagram.com/p/CRhhOdYsQE5/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">photo set by Sydney Welch\u003c/a> does justice to what took place that evening. And a duo of Instagram posts between \u003ca href=\"https://www.instagram.com/p/CRg9xZ-MH4m/\" target=\"_blank\" rel=\"noopener noreferrer\">BossLife Big Spence\u003c/a> and a huge fan of his, \u003ca href=\"https://www.instagram.com/p/CRe7gIMnYeQ/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Big Less\u003c/a>, who says Big Spence’s music has helped him with his battle against stage four cancer, really puts the power of that evening into perspective.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yeah, there could be easily be a book written about the energy of Bay Area hip-hop artists and fans. But words and photos never fully capture that energy—you’ve just got to experience it.\u003c/p>\n\n",
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"excerpt": "The Bay Area's song of the summer gets an East Bay crowd active after a year spent in lockdown.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I could write a whole book about the energy bouncing off the walls at Cornerstone in Berkeley on Saturday night—and specifically, from Stunnaman02.\u003c/p>\n\u003cp>I watched handshakes between reunited friends turn into palm-grasping mini-gig sessions. Airborne beach balls that drew people toward the stage. A sprayed bottle of champagne that caused them to retreat. At one point during the action-filled evening, a woman stood on the edge of the balcony, twerking a full story above the rest of the world.\u003c/p>\n\u003cp>All through the night, I watched energy emit from a crowd of true Bay Area hip-hop lovers. I took as many photos as I could, all the while knowing that capturing images doesn’t equate to capturing a vibe.\u003c/p>\n\u003cfigure id=\"attachment_13900090\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01441-800x535.jpg\" alt=\"Attendees hold up their phones, capturing footage of Nef The Pharaoh performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees hold up their phones while Nef The Pharaoh performs at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlined by \u003ca href=\"https://www.instagram.com/bosslifebigspence/\">BossLife Big Spence\u003c/a> and \u003ca href=\"https://www.instagram.com/10piecetone/\">10 Piece Tone\u003c/a>, the building played host to a wide array of Bay Area talent, including \u003ca href=\"https://www.instagram.com/y0ungbari/\">Young Bari\u003c/a>, \u003ca href=\"https://www.instagram.com/oskiedoubleff/\">Oskie\u003c/a>, \u003ca href=\"https://www.instagram.com/slimyani/\">Slim Yani\u003c/a>, and \u003ca href=\"https://www.instagram.com/nefthepharaoh/\">Nef The Pharaoh\u003c/a>.\u003c/p>\n\u003cp>I moved from the balcony to the front of the stage, taking photos and monitoring the energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I took note of how the vocals of one of the opening acts were drowned out by the recorded track that they were supposed to be rapping over. I acknowledged the way seasoned veterans, like Hieroglyphics’ \u003ca href=\"https://www.instagram.com/djtourehiero/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Toure\u003c/a> and San Francisco’s \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>, played the cut and let the youngsters turn up. I listened as \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a> managed the music on the ones and twos, and simultaneously controlled the amount of people on stage—or at least attempted to.\u003c/p>\n\u003cfigure id=\"attachment_13900089\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01486-800x535.jpg\" alt=\"10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I laughed at the way the thick weed smoke and lack of air conditioning made the term “hot box” an accurate double entendre. By the time the opening acts concluded, it was house-party hot inside of that joint. Then Stunnaman02 hit the stage, turning up the temperature, the energy, and every other lever he could find.\u003c/p>\n\u003cp>Stunnaman02 went from the edge of the stage to rapping in the middle of the crowd. I perched myself in the balcony to take bird’s eye view photos of his performance, only for him to run upstairs, past me, down the next stairway and eventually end up on top of the bar, rapping the whole time.\u003c/p>\n\u003cfigure id=\"attachment_13900091\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01419-800x535.jpg\" alt=\"A bird's eye view shot of Stunnaman02 standing on stage and performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A bird’s eye view shot of Stunnaman02 standing on stage and performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hailing from San Francisco, Stunnaman02 is the artist behind the high-energy track “\u003ca href=\"https://www.youtube.com/watch?v=h8T00Bx1eQ0\">Gut Check\u003c/a>,” and the more laid-back song “\u003ca href=\"https://www.youtube.com/watch?v=7remciyEOlg\">SloMo\u003c/a>.” He’s also the guy behind the regional hit that’s quickly becoming the Bay Area the song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\">Big Steppin\u003c/a>.”\u003c/p>\n\u003cp>Over the weekend a video surfaced of \u003ca href=\"https://twitter.com/TheThizzler/status/1415854066907942916?s=20\">Stunnaman02 and E-40\u003c/a> doing the \u003ca href=\"https://www.instagram.com/explore/tags/bigsteppin02challenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin Challenge\u003c/a>, a dance trend that rhythmically mimics the act of bench pressing. As of this article’s publication, Stunnaman02 has recorded 41 straight days of himself doing the dance, oftentimes appearing in notable Bay Area locations with other known artists.\u003c/p>\n\u003cp>Late last month, Stunnaman02 teamed up with fellow Fillmore artist and actor Gunna Goes Global to drop the uptempo album \u003ca href=\"https://album.link/i/1574456703\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Feel More\u003c/em>\u003c/a>. Stunnaman02, real name Jordan Gomes, is also an actor, featured alongside Gunna Goes Global in the film \u003ci>The Last Black Man in San Francisco.\u003c/i> And he plays the role of a cop in the web series\u003ca href=\"https://www.youtube.com/watch?v=8zOO8fQHsic\">\u003ci> Rent Check\u003c/i>\u003c/a>. On top of that, Stunnaman02 is an entrepreneur, \u003ca href=\"https://www.instagram.com/stillwinnin02/\">selling clothing \u003c/a>and a self-made beverage, 02 Juice. And if that’s not enough, Stunnaman02 was a part of a group that momentarily \u003ca href=\"https://www.youtube.com/watch?v=asjKLWaNWg8\" target=\"_blank\" rel=\"noopener noreferrer\">shut down the Bay Bridge\u003c/a> last year, protesting police brutality.\u003c/p>\n\u003cfigure id=\"attachment_13900087\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900087\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01433-800x535.jpg\" alt=\"A fan in a San Francisco Giants hat takes in Stunnaman02's performance, as the emcee perches on the bar in the back of the venue. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan in a San Francisco Giants hat takes in the show as Stunnaman02 perches on the bar in the back of the venue. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this to say: he’s an active dude. But he’s not just a hyphy-ass live wire.\u003c/p>\n\u003cp>At one of the last pre-pandemic events I attended, in February of 2020, I bumped into Stunnaman02 at Oakland’s Black Joy Parade. He was stopping anyone and everyone who would listen to him, asking nothing more than that person have a great day.\u003c/p>\n\u003cp>This past weekend, during the show at Cornerstone in Berkeley, he showed that same sincerity.\u003c/p>\n\u003cfigure id=\"attachment_13900092\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01405-800x535.jpg\" alt=\"Stunnaman02 stands in sea of people, performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 stands in sea of people, performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After tearing his shirt off and rocking the crowd, Stunnaman02 concluded his set with a prayer.\u003c/p>\n\u003cp>The crowd simmered as Stunnaman02 asked for the health of all of those in attendance. He rattled off a long list of specific types of health, including financial and mental. He then said the names of a couple of deceased friends, before screaming into the microphone, “WE STILL WINNING!”\u003c/p>\n\u003cfigure id=\"attachment_13900086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01500-800x535.jpg\" alt=\"10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists followed, and the show’s energy didn’t wane. Young Bari lit up the crowd when he came out giggin’ to his track “\u003ca href=\"https://youtu.be/EU1ryBN9fVw\" target=\"_blank\" rel=\"noopener noreferrer\">So Mobby\u003c/a>.” BossLife Big Spence and 10 Piece Tone rocked the stage for a few minutes, took a set break and doubled back with an outfit change—and then rocked the crowd some more.\u003c/p>\n\u003cp>My weary legs, fatigued from not attending a fully energized live hip-hop show in over a calendar year, told me it was time to leave. As I exited the building and made my way back out to the Berkeley streets, I saw producer \u003ca href=\"https://www.instagram.com/quakebeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Quakebeatz\u003c/a> and Stunnaman02, and used my last bit of energy to congratulate them on a successful show.\u003c/p>\n\u003cp>Looking back at the footage from that night, some true gems were documented. A \u003ca href=\"https://www.instagram.com/p/CRhhOdYsQE5/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">photo set by Sydney Welch\u003c/a> does justice to what took place that evening. And a duo of Instagram posts between \u003ca href=\"https://www.instagram.com/p/CRg9xZ-MH4m/\" target=\"_blank\" rel=\"noopener noreferrer\">BossLife Big Spence\u003c/a> and a huge fan of his, \u003ca href=\"https://www.instagram.com/p/CRe7gIMnYeQ/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Big Less\u003c/a>, who says Big Spence’s music has helped him with his battle against stage four cancer, really puts the power of that evening into perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When Linda Ronstadt is asked about her incredible career—selling over 100 million records, winning 10 Grammy Awards, being inducted into the Rock ’n’ Roll Hall of Fame—it’s only a matter of minutes before she starts talking, instead, about other people’s music. Whether it’s the poetry of the McGarrigle Sisters, the lush arrangements of Nelson Riddle or the Cajun interpretations of Ann Savoy, Ronstadt, with an ethnomusicologist’s insight and detail, wants her fans to know that there’s more to her music than “You’re No Good.”\u003c/p>\n\u003cp>No music is more personal to Ronstadt than the music of Mexico; the corridos, son jarochos and rancheras which she recorded brilliantly on a pair of albums, \u003cem>Canciones de Mi Padre\u003c/em> and \u003cem>Mas Canciones\u003c/em>, in the 1980s. So it’s only natural that a documentary, \u003cem>Linda and the Mockingbirds\u003c/em>, captures her love and knowledge of the music while shining a light on those that came before her—and those who will follow.\u003c/p>\n\u003cp>https://youtu.be/i89XDw91GRk\u003c/p>\n\u003cp>\u003cem>Linda and the Mockingbirds\u003c/em> follows Ronstadt as she travels by bus to the small town of Banamichi in Sonora, Mexico, where her grandfather was born, accompanied by young singers from the Richmond nonprofit \u003ca href=\"https://www.loscenzontles.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Cenzontles\u003c/a>. Joined by fellow rock legend Jackson Browne (“If Linda Ronstadt invites you to go to Mexico, I don’t need to know any more than that. It’s go,” he says in the film), she’s able to not only trace the regional roots of her family’s music, but to show locals how far it’s traveled.\u003c/p>\n\u003cp>\u003cem>Linda and the Mockingbirds\u003c/em> is about much more than music. It doesn’t shy away from heartbreaking stories of the United States’ immigration policies that separate families, or its discrimination against the Mexican people. Yet through its interviews with those living with the complexities of being simultaneously Mexican and American, and in its vibrant performances, it also showcases an incredible musical history that can bridge our divides.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Linda and the Mockingbirds’ screens with cast and crew in attendance at the Roxie Theater in San Francisco on Sunday, July 18. $8–$10. \u003ca href=\"https://www.roxie.com/ai1ec_event/linda-and-the-mockingbirds/?instance_id=41131\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. The film is also available on streaming.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Linda Ronstadt is asked about her incredible career—selling over 100 million records, winning 10 Grammy Awards, being inducted into the Rock ’n’ Roll Hall of Fame—it’s only a matter of minutes before she starts talking, instead, about other people’s music. Whether it’s the poetry of the McGarrigle Sisters, the lush arrangements of Nelson Riddle or the Cajun interpretations of Ann Savoy, Ronstadt, with an ethnomusicologist’s insight and detail, wants her fans to know that there’s more to her music than “You’re No Good.”\u003c/p>\n\u003cp>No music is more personal to Ronstadt than the music of Mexico; the corridos, son jarochos and rancheras which she recorded brilliantly on a pair of albums, \u003cem>Canciones de Mi Padre\u003c/em> and \u003cem>Mas Canciones\u003c/em>, in the 1980s. So it’s only natural that a documentary, \u003cem>Linda and the Mockingbirds\u003c/em>, captures her love and knowledge of the music while shining a light on those that came before her—and those who will follow.\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/i89XDw91GRk'\n title='//www.youtube.com/embed/i89XDw91GRk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Linda and the Mockingbirds\u003c/em> follows Ronstadt as she travels by bus to the small town of Banamichi in Sonora, Mexico, where her grandfather was born, accompanied by young singers from the Richmond nonprofit \u003ca href=\"https://www.loscenzontles.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Cenzontles\u003c/a>. Joined by fellow rock legend Jackson Browne (“If Linda Ronstadt invites you to go to Mexico, I don’t need to know any more than that. It’s go,” he says in the film), she’s able to not only trace the regional roots of her family’s music, but to show locals how far it’s traveled.\u003c/p>\n\u003cp>\u003cem>Linda and the Mockingbirds\u003c/em> is about much more than music. It doesn’t shy away from heartbreaking stories of the United States’ immigration policies that separate families, or its discrimination against the Mexican people. Yet through its interviews with those living with the complexities of being simultaneously Mexican and American, and in its vibrant performances, it also showcases an incredible musical history that can bridge our divides.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How the Bay Area Reshaped a Classic Soundtrack",
"headTitle": "How the Bay Area Reshaped a Classic Soundtrack | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">After lobbing a baseball over home plate for the \u003ca href=\"https://twitter.com/EMPIRE/status/1414996810804862978\" target=\"_blank\" rel=\"noopener noreferrer\">ceremonial first pitch\u003c/a> at the San Francisco Giants game last week, rapper and producer \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> was on the red carpet Monday in Los Angeles for the world premiere of \u003cem>Space Jam: A New Legacy.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film, in theaters and on HBO Max this Friday, is produced by the Bay Area’s own Ryan Coogler. Alongside appearances from LeBron James, Bugs Bunny, Diana Taurasi and Porky Pig, \u003c/span>Oakland-raised superstar actress Zendaya voices the role of Lola Bunny and \u003cspan>Oakland-grown NBA superstar Damian Lillard voices the character of Chronos—a play off of his “Dame Time” moniker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the Bay Area connection hardly stops there: the soundtrack to what’s expected to be one of the biggest blockbusters of the summer boasts a handful of Bay Area names, including P-Lo, who produced and is featured on the track “\u003ca href=\"https://www.youtube.com/watch?v=ubfqo-7XvqI\" target=\"_blank\" rel=\"noopener noreferrer\">About That Time\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ubfqo-7XvqI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The way it came to be was really quite simple, P-Lo tells me. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Proximity Media’s co-head of music and marketing, Archie Davis, contacted P-Lo’s manager Stretch. Soon after, P-Lo was shown the rough version of a scene in the movie with Damian Lillard’s character, and was told, “We need a song for this scene, and we want to sample a classic Bay Area song.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The sample he chose for “About That Time” was from Too $hort’s 2003 hit, “Burn Rubber.” “It’s probably one of my favorite songs of all time, top five songs,” P-Lo tells me. “When they’re dropping my casket, I wouldn’t mind them playing ‘Burn Rubber,’ know what I’m saying?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A certain amount of pressure comes with reworking such a beloved track, but for P-Lo, the moment deserved that amount of pressure. “To bring back a classic song that means so much to us—and it’s actually in the movie, not just on the soundtrack—being able to bring that sound into the movie, with Dame being from Oakland, means something,” says P-Lo.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg\" alt='G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros \"Space Jam: A New Legacy\" at Regal LA Live on July 12, 2021 in Los Angeles, California. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13900010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros “Space Jam: A New Legacy” at Regal LA Live on July 12, 2021 in Los Angeles, California. \u003ccite>(Emma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We Win,” a track featuring Lil Baby and Kirk Franklin is the lead single from the album. National artists like the Jonas Brothers, Salt-N-Pepa and Lil Uzi Vert are included on the soundtrack’s roster. But a conspicuous amount of Bay Area artists are sprinkled throughout the lineup, including \u003ca href=\"https://www.instagram.com/saweetie/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Saweetie\u003c/a>, \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24kGoldn\u003c/a> and \u003ca href=\"https://www.instagram.com/duckwrth/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Duckwrth\u003c/a>, who all spend time between L.A. and the Bay. The East Bay’s \u003ca href=\"https://www.instagram.com/therealsymba/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a> appears on a track with John Legend and Chance The Rapper, while Richmond’s \u003ca href=\"https://www.instagram.com/whitedave/\" target=\"_blank\" rel=\"noopener noreferrer\">White Dave\u003c/a> handles the final verse on the aforementioned P-Lo produced “About That Time,” which also features \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a> and Damian Lillard, who records under the name Dame D.O.L.L.A.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It shows how many great things are happening in the Bay,” says P-Lo. “I don’t make the same music that 24KGoldn makes, or 24KGoldn doesn’t make the same music that Symba makes, or G-Eazy, or Saweetie, or whoever. It just shows that we’re hitting them from all different angles, and I’m just super excited that the Bay was able to show their ass on this, you know?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave says the \u003cem>Space Jam: A New Legacy\u003c/em> soundtrack feels like “a coming out party” for the artists on the album, even though there are a lot of seasoned veterans on it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave (real name Noah Coogler, the brother of producer Ryan Coogler) says his involvement happened fairly simply: P-Lo sent the beat to his management team, White Dave reviewed it and laid something down. After White Dave filed his verse, he received a semi-finished copy of the track, and “I was like, ‘This song is going crazy’,” he says. A couple weeks later, White Dave got paperwork letting him know it was going to be in the soundtrack. His mind was blown. “I had no idea that I was contributing to something that was going to be that major,” he tells me during a phone call earlier this week.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave, whose song “Grizzly” is featured in \u003ca href=\"https://www.youtube.com/watch?v=JiHt8FnNFXc\" target=\"_blank\" rel=\"noopener noreferrer\">a Jabbawockeez video\u003c/a> that’s received over a million views since February, \u003c/span>\u003cspan style=\"font-weight: 400\">still hasn’t processed being part of the \u003cem>Space Jam\u003c/em> sequel. “I don’t make a big deal about things, I just try to keep things in perspective and move on to the next job,” he says. “But!” he emphasizes, “It feels remarkable. Obviously \u003cem>Space Jam\u003c/em> has had a huge impact on my life growing up, to be a part of the reboot is bigger than big.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900011\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/slack-imgs.jpg\" alt=\"Symba and LeBron James at the 'Space Jam: A New Legacy' premiere at LA Live in Los Angeles.\" width=\"480\" height=\"600\" class=\"size-full wp-image-13900011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs-160x200.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Symba and LeBron James at the ‘Space Jam: A New Legacy’ premiere at LA Live in Los Angeles. \u003ccite>(Courtesy Symba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba says he struggled with holding in his excitement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You don’t want to tell nobody, in case the song doesn’t make it or if there’s clearance issues, or whatever. So, it just feels good for it to be out,” Symba tells me over the phone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite revamping one of the most memorable soundtracks of a generation—an album that brought nearly 10 songs to the Billboard’s Top 10, sold \u003ca href=\"https://www.billboard.com/articles/columns/tv-film/9591375/space-jam-a-new-legacy-soundtrack-inside-look/\" target=\"_blank\" rel=\"noopener noreferrer\">4.7 million copies,\u003c/a> and had millions of American kids \u003ca href=\"https://www.youtube.com/results?search_query=i+believe+i+can+fly+graduation+elementary+school\" target=\"_blank\" rel=\"noopener noreferrer\">singing about believing in the ability to fly at elementary school graduations\u003c/a>—Symba says he didn’t feel too much pressure. \u003c/span>\u003c/p>\n\u003cp>His friend and producer Oak was working on a track with Chance The Rapper, and needed someone to fill-in the gaps of the hook. “(Oak) was just singing the hook, ‘Pull the ground from out under me, if you want to see me fly,'” says Symba. “And I’m thinking: it doesn’t need to be something that rhymes, it’s something that needs to be a statement.”\u003c/p>\n\u003cp>He thought about the story of LeBron James, his friend and business partner Maverick Carter, and their business, \u003ca href=\"https://www.forbes.com/companies/klutch-sports-group/?sh=7968e3e65de4\" target=\"_blank\" rel=\"noopener noreferrer\">Klutch Sports\u003c/a>.\u003c/p>\n\u003cp>The words “Look in the sky, the air up here is so clear / We clearly on top” came to Symba. From there, he says, “I started thinking, ‘What would I say next if I was LeBron? How did I get to the top?'”\u003c/p>\n\u003cp>[aside postID='arts_13884595']“We built this thing from where the ground’s at, it’s our time to take flight. We cleared for takeoff,” wrote Symba, who late last year garnered attention for his \u003ca href=\"https://www.youtube.com/watch?v=bmvMjPiOVbg\" target=\"_blank\" rel=\"noopener noreferrer\">LA Leakers freestyle\u003c/a> (which \u003ca href=\"https://www.xxlmag.com/symba-interview-the-break/\" target=\"_blank\" rel=\"noopener noreferrer\">LeBron James shared on social media\u003c/a>). “Oak looked at me,” he adds, and “he was like ‘Bro, you might as well do a verse too.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba got a surprise when he heard the final track. “About four months later they sent me a version of it with John Legend,” says Symba. “And that’s when I was like ‘Ohhhhh shit, John Legend!'”\u003c/span>\u003c/p>\n\u003cp>This is a big moment for Bay Area talent, Symba says, because he’s seen artists who came before him hit a ceiling. A local lack of entertainment industry infrastructure, mismanagement and a shortage of resources have all led to artists not being able to reach higher platforms, he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You do the Petaluma show, you go to Fresno a few times, up to Chico and you pretty much done it all. You do the same shows over and over and people get tired of seeing you,” says Symba, noting the importance of Bay Area artists being in L.A. where there are much bigger opportunities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot of us (in L.A.) pushing the Bay Area forward,” says Symba. “That’s why we go so hard, we always dance the way we do, and yell ‘Bay Area’—because we know how hard it is to get here. We scream that to let everybody on the other side know it’s possible.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg\" alt=\"P-Lo and G-Eazy (L-R) attend the 'Space Jam: A New Legacy' party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \" width=\"800\" height=\"548\" class=\"size-medium wp-image-13900009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and G-Eazy (L-R) attend the ‘Space Jam: A New Legacy’ party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archie Davis, who co-executive produced the music and soundtrack to the film alongside Ludwig Göransson, tells me to look at all of Ryan Coogler’s work: \u003cspan style=\"font-weight: 400\">“There’s a Bay Area ode in all of his films.”\u003c/span>\u003c/p>\n\u003cp>So it was a no-brainer to include the sound of the Bay in this film—especially for Dame Lillard’s part.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the phone, Davis, who is from Fresno, tells me the specific moment the seed was planted for the “About That Time” song. “I was watching Dame play \u003ca href=\"https://www.kqed.org/arts/13884595/professional-bubble-ball-at-the-nba-and-wnba-is-leading-by-example\" rel=\"noopener noreferrer\" target=\"_blank\">in the bubble\u003c/a>,” Davis says, in reference to the 2020 NBA season. “‘Blow The Whistle’ came on, and I watched him go dumb on the court.” \u003c/span>\u003c/p>\n\u003cp>He knew he needed to emulate that in the film, so he reached out to P-Lo.\u003c/p>\n\u003cp>Davis adds that Saweetie, White Dave and others were natural fits, and Symba has written for so many soundtracks he couldn’t pass him up.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">Once we looked up, we had racked ’em up,” Davis says about the amount of Bay Area artists on the soundtrack. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In terms of what this says about the marketability of current Bay Area artists? Davis says it’s like that Andre 3000 quote—”The south got something to say”—except this time, it’s the Bay.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">After lobbing a baseball over home plate for the \u003ca href=\"https://twitter.com/EMPIRE/status/1414996810804862978\" target=\"_blank\" rel=\"noopener noreferrer\">ceremonial first pitch\u003c/a> at the San Francisco Giants game last week, rapper and producer \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> was on the red carpet Monday in Los Angeles for the world premiere of \u003cem>Space Jam: A New Legacy.\u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film, in theaters and on HBO Max this Friday, is produced by the Bay Area’s own Ryan Coogler. Alongside appearances from LeBron James, Bugs Bunny, Diana Taurasi and Porky Pig, \u003c/span>Oakland-raised superstar actress Zendaya voices the role of Lola Bunny and \u003cspan>Oakland-grown NBA superstar Damian Lillard voices the character of Chronos—a play off of his “Dame Time” moniker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the Bay Area connection hardly stops there: the soundtrack to what’s expected to be one of the biggest blockbusters of the summer boasts a handful of Bay Area names, including P-Lo, who produced and is featured on the track “\u003ca href=\"https://www.youtube.com/watch?v=ubfqo-7XvqI\" target=\"_blank\" rel=\"noopener noreferrer\">About That Time\u003c/a>.”\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/ubfqo-7XvqI'\n title='//www.youtube.com/embed/ubfqo-7XvqI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The way it came to be was really quite simple, P-Lo tells me. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Proximity Media’s co-head of music and marketing, Archie Davis, contacted P-Lo’s manager Stretch. Soon after, P-Lo was shown the rough version of a scene in the movie with Damian Lillard’s character, and was told, “We need a song for this scene, and we want to sample a classic Bay Area song.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The sample he chose for “About That Time” was from Too $hort’s 2003 hit, “Burn Rubber.” “It’s probably one of my favorite songs of all time, top five songs,” P-Lo tells me. “When they’re dropping my casket, I wouldn’t mind them playing ‘Burn Rubber,’ know what I’m saying?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A certain amount of pressure comes with reworking such a beloved track, but for P-Lo, the moment deserved that amount of pressure. “To bring back a classic song that means so much to us—and it’s actually in the movie, not just on the soundtrack—being able to bring that sound into the movie, with Dame being from Oakland, means something,” says P-Lo.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg\" alt='G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros \"Space Jam: A New Legacy\" at Regal LA Live on July 12, 2021 in Los Angeles, California. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13900010\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1328432641.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">G-Eazy, P-Lo and Kossisko attend the premiere of Warner Bros “Space Jam: A New Legacy” at Regal LA Live on July 12, 2021 in Los Angeles, California. \u003ccite>(Emma McIntyre/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We Win,” a track featuring Lil Baby and Kirk Franklin is the lead single from the album. National artists like the Jonas Brothers, Salt-N-Pepa and Lil Uzi Vert are included on the soundtrack’s roster. But a conspicuous amount of Bay Area artists are sprinkled throughout the lineup, including \u003ca href=\"https://www.instagram.com/saweetie/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Saweetie\u003c/a>, \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24kGoldn\u003c/a> and \u003ca href=\"https://www.instagram.com/duckwrth/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Duckwrth\u003c/a>, who all spend time between L.A. and the Bay. The East Bay’s \u003ca href=\"https://www.instagram.com/therealsymba/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a> appears on a track with John Legend and Chance The Rapper, while Richmond’s \u003ca href=\"https://www.instagram.com/whitedave/\" target=\"_blank\" rel=\"noopener noreferrer\">White Dave\u003c/a> handles the final verse on the aforementioned P-Lo produced “About That Time,” which also features \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a> and Damian Lillard, who records under the name Dame D.O.L.L.A.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It shows how many great things are happening in the Bay,” says P-Lo. “I don’t make the same music that 24KGoldn makes, or 24KGoldn doesn’t make the same music that Symba makes, or G-Eazy, or Saweetie, or whoever. It just shows that we’re hitting them from all different angles, and I’m just super excited that the Bay was able to show their ass on this, you know?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave says the \u003cem>Space Jam: A New Legacy\u003c/em> soundtrack feels like “a coming out party” for the artists on the album, even though there are a lot of seasoned veterans on it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave (real name Noah Coogler, the brother of producer Ryan Coogler) says his involvement happened fairly simply: P-Lo sent the beat to his management team, White Dave reviewed it and laid something down. After White Dave filed his verse, he received a semi-finished copy of the track, and “I was like, ‘This song is going crazy’,” he says. A couple weeks later, White Dave got paperwork letting him know it was going to be in the soundtrack. His mind was blown. “I had no idea that I was contributing to something that was going to be that major,” he tells me during a phone call earlier this week.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">White Dave, whose song “Grizzly” is featured in \u003ca href=\"https://www.youtube.com/watch?v=JiHt8FnNFXc\" target=\"_blank\" rel=\"noopener noreferrer\">a Jabbawockeez video\u003c/a> that’s received over a million views since February, \u003c/span>\u003cspan style=\"font-weight: 400\">still hasn’t processed being part of the \u003cem>Space Jam\u003c/em> sequel. “I don’t make a big deal about things, I just try to keep things in perspective and move on to the next job,” he says. “But!” he emphasizes, “It feels remarkable. Obviously \u003cem>Space Jam\u003c/em> has had a huge impact on my life growing up, to be a part of the reboot is bigger than big.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900011\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/slack-imgs.jpg\" alt=\"Symba and LeBron James at the 'Space Jam: A New Legacy' premiere at LA Live in Los Angeles.\" width=\"480\" height=\"600\" class=\"size-full wp-image-13900011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/slack-imgs-160x200.jpg 160w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Symba and LeBron James at the ‘Space Jam: A New Legacy’ premiere at LA Live in Los Angeles. \u003ccite>(Courtesy Symba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba says he struggled with holding in his excitement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You don’t want to tell nobody, in case the song doesn’t make it or if there’s clearance issues, or whatever. So, it just feels good for it to be out,” Symba tells me over the phone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite revamping one of the most memorable soundtracks of a generation—an album that brought nearly 10 songs to the Billboard’s Top 10, sold \u003ca href=\"https://www.billboard.com/articles/columns/tv-film/9591375/space-jam-a-new-legacy-soundtrack-inside-look/\" target=\"_blank\" rel=\"noopener noreferrer\">4.7 million copies,\u003c/a> and had millions of American kids \u003ca href=\"https://www.youtube.com/results?search_query=i+believe+i+can+fly+graduation+elementary+school\" target=\"_blank\" rel=\"noopener noreferrer\">singing about believing in the ability to fly at elementary school graduations\u003c/a>—Symba says he didn’t feel too much pressure. \u003c/span>\u003c/p>\n\u003cp>His friend and producer Oak was working on a track with Chance The Rapper, and needed someone to fill-in the gaps of the hook. “(Oak) was just singing the hook, ‘Pull the ground from out under me, if you want to see me fly,'” says Symba. “And I’m thinking: it doesn’t need to be something that rhymes, it’s something that needs to be a statement.”\u003c/p>\n\u003cp>He thought about the story of LeBron James, his friend and business partner Maverick Carter, and their business, \u003ca href=\"https://www.forbes.com/companies/klutch-sports-group/?sh=7968e3e65de4\" target=\"_blank\" rel=\"noopener noreferrer\">Klutch Sports\u003c/a>.\u003c/p>\n\u003cp>The words “Look in the sky, the air up here is so clear / We clearly on top” came to Symba. From there, he says, “I started thinking, ‘What would I say next if I was LeBron? How did I get to the top?'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We built this thing from where the ground’s at, it’s our time to take flight. We cleared for takeoff,” wrote Symba, who late last year garnered attention for his \u003ca href=\"https://www.youtube.com/watch?v=bmvMjPiOVbg\" target=\"_blank\" rel=\"noopener noreferrer\">LA Leakers freestyle\u003c/a> (which \u003ca href=\"https://www.xxlmag.com/symba-interview-the-break/\" target=\"_blank\" rel=\"noopener noreferrer\">LeBron James shared on social media\u003c/a>). “Oak looked at me,” he adds, and “he was like ‘Bro, you might as well do a verse too.'”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Symba got a surprise when he heard the final track. “About four months later they sent me a version of it with John Legend,” says Symba. “And that’s when I was like ‘Ohhhhh shit, John Legend!'”\u003c/span>\u003c/p>\n\u003cp>This is a big moment for Bay Area talent, Symba says, because he’s seen artists who came before him hit a ceiling. A local lack of entertainment industry infrastructure, mismanagement and a shortage of resources have all led to artists not being able to reach higher platforms, he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You do the Petaluma show, you go to Fresno a few times, up to Chico and you pretty much done it all. You do the same shows over and over and people get tired of seeing you,” says Symba, noting the importance of Bay Area artists being in L.A. where there are much bigger opportunities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a lot of us (in L.A.) pushing the Bay Area forward,” says Symba. “That’s why we go so hard, we always dance the way we do, and yell ‘Bay Area’—because we know how hard it is to get here. We scream that to let everybody on the other side know it’s possible.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13900009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg\" alt=\"P-Lo and G-Eazy (L-R) attend the 'Space Jam: A New Legacy' party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \" width=\"800\" height=\"548\" class=\"size-medium wp-image-13900009\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/GettyImages-1326217891.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and G-Eazy (L-R) attend the ‘Space Jam: A New Legacy’ party at Six Flags Magic Mountain on June 29, 2021 in Valencia, California. \u003ccite>(Matt Winkelmeyer/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Archie Davis, who co-executive produced the music and soundtrack to the film alongside Ludwig Göransson, tells me to look at all of Ryan Coogler’s work: \u003cspan style=\"font-weight: 400\">“There’s a Bay Area ode in all of his films.”\u003c/span>\u003c/p>\n\u003cp>So it was a no-brainer to include the sound of the Bay in this film—especially for Dame Lillard’s part.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the phone, Davis, who is from Fresno, tells me the specific moment the seed was planted for the “About That Time” song. “I was watching Dame play \u003ca href=\"https://www.kqed.org/arts/13884595/professional-bubble-ball-at-the-nba-and-wnba-is-leading-by-example\" rel=\"noopener noreferrer\" target=\"_blank\">in the bubble\u003c/a>,” Davis says, in reference to the 2020 NBA season. “‘Blow The Whistle’ came on, and I watched him go dumb on the court.” \u003c/span>\u003c/p>\n\u003cp>He knew he needed to emulate that in the film, so he reached out to P-Lo.\u003c/p>\n\u003cp>Davis adds that Saweetie, White Dave and others were natural fits, and Symba has written for so many soundtracks he couldn’t pass him up.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">Once we looked up, we had racked ’em up,” Davis says about the amount of Bay Area artists on the soundtrack. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of what this says about the marketability of current Bay Area artists? Davis says it’s like that Andre 3000 quote—”The south got something to say”—except this time, it’s the Bay.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Cuba is suffering through a summer of dire shortages, from food and electricity to medicine. Fed-up Cubans are taking to the streets in unprecedented protests — and they’re voicing their outrage through a song called \u003cem>Patria y Vida\u003c/em> — homeland and life.\u003c/p>\n\u003cp>The slogan is a spin on the communist regime’s decades-old slogan of “\u003cem>patria o muerte\u003c/em>” — homeland or death. In strong terms, the song accuses the government of destroying the quality of life in Cuba, a message that quickly found traction with protesters who are demanding change.\u003c/p>\n\u003cp>“No more lies. My people demand freedom. No more doctrines!” the song says. It calls for people to shout “\u003cem>patria y vida\u003c/em> … and start building what we dreamed of/ what they destroyed with their hands.”\u003c/p>\n\u003ch3>The viral hit has become a political slogan \u003c/h3>\n\u003cp>\u003cem>Patria y Vida\u003c/em> has been a phenomenon since its release this year. The song is a collaboration between a group of Afro-Cuban reggaeton and hip-hop stars based in Miami, such as Yotuel Romero and Alexander Delgado, along with rappers Maykel Osorbo and El Funky, who live in Cuba. A YouTube video of the song has been viewed nearly 6 million times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pP9Bto5lOEQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the single was released, Romero, who is part of the group Orishas, said that for him, the song was motivated by a look back at Cuba’s long history.\u003c/p>\n\u003cp>“Before the revolution, we had a beautiful Havana; now we have ruins,” he told \u003ca href=\"https://www.billboard.com/articles/columns/latin/9532239/yotuel-gente-de-zona-patria-y-vida-cuba/\">\u003cem>Billboard\u003c/em>\u003c/a> in February. “From that point on, I said, ‘I’m not going to be quiet anymore.’ ”\u003c/p>\n\u003cp>Where the original Castro-era slogan was a call to arms for people to stand against outside influence, the new slogan tells people to hit the streets and take back their country.\u003c/p>\n\u003cp>“It’s over now! And we’re not afraid,” the song declares.\u003c/p>\n\u003cp>\u003cem>Patria y Vida\u003c/em> quickly became an anthem. When large protests erupted in April, NPR’s Carrie Kahn declared it “astonishing” and a sign of “a growing movement challenging the regime like we haven’t seen in decades.”\u003c/p>\n\u003cp>After the song’s release, Cuban authorities arrested Osorbo. His supporters \u003ca href=\"https://www.instagram.com/p/CRE0SEFDP4P/\">have submitted complaints\u003c/a> to the United Nations over his treatment, saying that the government is persecuting him for expressing his views and for helping create the song.\u003c/p>\n\u003ch3>The protests have been some of Cuba’s largest \u003c/h3>\n\u003cp>Thousands of Cubans have been taking part in protests in Havana and elsewhere on the island, shouting their demands for more freedom along with calls for an end to high prices and economic turmoil. A run of electrical blackouts has added to their frustrations.\u003c/p>\n\u003cp>Crowds have been chanting slogans against Cuban President Miguel Díaz-Canel as well as demanding more access to vaccines. Cuba has been experiencing a record spike in COVID-19 cases and deaths \u003ca href=\"https://coronavirus.jhu.edu/region/cuba\">in recent weeks\u003c/a>. Overall, the nation has reported \u003ca href=\"https://salud.msp.gob.cu/parte-de-cierre-del-dia-11-de-julio-a-las-12-de-la-noche-2/\">nearly 245,000 cases\u003c/a>.\u003c/p>\n\u003cp>Marches and protests have been disrupted by police, who made mass arrests and used tear gas against demonstrators on Sunday. Videos circulating online have also shown officers firing toward crowds, reporter Nora Gámez Torres of the\u003cem> Miami Herald \u003c/em>and\u003cem> El Nuevo Herald\u003c/em> \u003ca href=\"https://www.npr.org/2021/07/12/1015185042/thousands-of-cubans-take-part-in-widespread-anti-government-protests\">told NPR\u003c/a>.\u003c/p>\n\u003cp>“There were really unprecedented images coming out of the island,” she said.\u003c/p>\n\u003ch3>Why is Cuba suffering?\u003c/h3>\n\u003cp>There are several main reasons, including U.S. economic sanctions that were tightened under former President Donald Trump and the pandemic’s toll on the island’s economy and infrastructure. Cuba is also getting less economic help from one of its main allies, Venezuela.\u003c/p>\n\u003cp>“The government is in debt and has no money,” Torres said. “So the population has been enduring severe scarcities of food and medicine.”\u003c/p>\n\u003cp>Many are also angry and frustrated by Cuba’s policy of \u003ca href=\"https://www.washingtonpost.com/world/the_americas/cuba-opens-foreign-currency-only-shops-ends-tax-on-dollar/2020/07/20/5ebad662-cadd-11ea-99b0-8426e26d203b_story.html\">selling food in U.S dollars\u003c/a> — which most of the country’s people don’t earn.\u003c/p>\n\u003cp>Remittances from relatives in the U.S. and elsewhere are also down. And like many places, Cuba’s tourism industry has been hollowed out by more than a year of travel restrictions due to COVID-19.\u003c/p>\n\u003cp>It’s not yet clear what will happen next, Torres said.\u003c/p>\n\u003cp>“Even if the government retains control, which is the most likely scenario, Cubans now see what they can do if enough people come out to protest,” she said. “So the genie is out of the bottle now and the frustration is not going anywhere.”\u003c/p>\n\u003cp>With the government facing a deep crisis, she warned, we’ll likely see more repression in the coming days.\u003c/p>\n\u003ch3>The Cuban government is blaming the U.S. \u003c/h3>\n\u003cp>\u003cem>Granma\u003c/em>, the Communist Party newspaper, \u003ca href=\"http://en.granma.cu/cuba/2021-07-12/san-antonio-de-los-banos-whatever-it-takes-diaz-canel\">blames the protests\u003c/a> on “annexationist interests, paid and directed by the United States.”\u003c/p>\n\u003cp>Díaz-Canel has said Cuba is facing difficulties that it knew were coming when the U.S. put tight economic sanctions on the country. And while the pandemic has made the situation worse, the president said every country in the world is being forced to cope with the coronavirus.\u003c/p>\n\u003cp>In a speech Monday, Díaz-Canel also dwelled on his country’s national electrical system, saying its infrastructure is hobbled by both the U.S. embargo and by overconsumption.\u003c/p>\n\u003ch3>The U.S. stance\u003c/h3>\n\u003cp>President Biden said he strongly supports the protesters.\u003c/p>\n\u003cp>“The Cuban people are demanding their freedom from an authoritarian regime,” Biden said during a White House event Monday. “I don’t think we’ve seen anything like these protests in a long, long time if, quite frankly, ever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Biden added, “The U.S. stands firmly with the people of Cuba as they assert their universal rights. And we call on the government of Cuba to refrain from violence in their attempt to silence the voices of the people of Cuba.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hip-Hop+Song+That%27s+Driving+Cuba%27s+Unprecedented+Protests&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cuba is suffering through a summer of dire shortages, from food and electricity to medicine. Fed-up Cubans are taking to the streets in unprecedented protests — and they’re voicing their outrage through a song called \u003cem>Patria y Vida\u003c/em> — homeland and life.\u003c/p>\n\u003cp>The slogan is a spin on the communist regime’s decades-old slogan of “\u003cem>patria o muerte\u003c/em>” — homeland or death. In strong terms, the song accuses the government of destroying the quality of life in Cuba, a message that quickly found traction with protesters who are demanding change.\u003c/p>\n\u003cp>“No more lies. My people demand freedom. No more doctrines!” the song says. It calls for people to shout “\u003cem>patria y vida\u003c/em> … and start building what we dreamed of/ what they destroyed with their hands.”\u003c/p>\n\u003ch3>The viral hit has become a political slogan \u003c/h3>\n\u003cp>\u003cem>Patria y Vida\u003c/em> has been a phenomenon since its release this year. The song is a collaboration between a group of Afro-Cuban reggaeton and hip-hop stars based in Miami, such as Yotuel Romero and Alexander Delgado, along with rappers Maykel Osorbo and El Funky, who live in Cuba. A YouTube video of the song has been viewed nearly 6 million times.\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/pP9Bto5lOEQ'\n title='//www.youtube.com/embed/pP9Bto5lOEQ'\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>When the single was released, Romero, who is part of the group Orishas, said that for him, the song was motivated by a look back at Cuba’s long history.\u003c/p>\n\u003cp>“Before the revolution, we had a beautiful Havana; now we have ruins,” he told \u003ca href=\"https://www.billboard.com/articles/columns/latin/9532239/yotuel-gente-de-zona-patria-y-vida-cuba/\">\u003cem>Billboard\u003c/em>\u003c/a> in February. “From that point on, I said, ‘I’m not going to be quiet anymore.’ ”\u003c/p>\n\u003cp>Where the original Castro-era slogan was a call to arms for people to stand against outside influence, the new slogan tells people to hit the streets and take back their country.\u003c/p>\n\u003cp>“It’s over now! And we’re not afraid,” the song declares.\u003c/p>\n\u003cp>\u003cem>Patria y Vida\u003c/em> quickly became an anthem. When large protests erupted in April, NPR’s Carrie Kahn declared it “astonishing” and a sign of “a growing movement challenging the regime like we haven’t seen in decades.”\u003c/p>\n\u003cp>After the song’s release, Cuban authorities arrested Osorbo. His supporters \u003ca href=\"https://www.instagram.com/p/CRE0SEFDP4P/\">have submitted complaints\u003c/a> to the United Nations over his treatment, saying that the government is persecuting him for expressing his views and for helping create the song.\u003c/p>\n\u003ch3>The protests have been some of Cuba’s largest \u003c/h3>\n\u003cp>Thousands of Cubans have been taking part in protests in Havana and elsewhere on the island, shouting their demands for more freedom along with calls for an end to high prices and economic turmoil. A run of electrical blackouts has added to their frustrations.\u003c/p>\n\u003cp>Crowds have been chanting slogans against Cuban President Miguel Díaz-Canel as well as demanding more access to vaccines. Cuba has been experiencing a record spike in COVID-19 cases and deaths \u003ca href=\"https://coronavirus.jhu.edu/region/cuba\">in recent weeks\u003c/a>. Overall, the nation has reported \u003ca href=\"https://salud.msp.gob.cu/parte-de-cierre-del-dia-11-de-julio-a-las-12-de-la-noche-2/\">nearly 245,000 cases\u003c/a>.\u003c/p>\n\u003cp>Marches and protests have been disrupted by police, who made mass arrests and used tear gas against demonstrators on Sunday. Videos circulating online have also shown officers firing toward crowds, reporter Nora Gámez Torres of the\u003cem> Miami Herald \u003c/em>and\u003cem> El Nuevo Herald\u003c/em> \u003ca href=\"https://www.npr.org/2021/07/12/1015185042/thousands-of-cubans-take-part-in-widespread-anti-government-protests\">told NPR\u003c/a>.\u003c/p>\n\u003cp>“There were really unprecedented images coming out of the island,” she said.\u003c/p>\n\u003ch3>Why is Cuba suffering?\u003c/h3>\n\u003cp>There are several main reasons, including U.S. economic sanctions that were tightened under former President Donald Trump and the pandemic’s toll on the island’s economy and infrastructure. Cuba is also getting less economic help from one of its main allies, Venezuela.\u003c/p>\n\u003cp>“The government is in debt and has no money,” Torres said. “So the population has been enduring severe scarcities of food and medicine.”\u003c/p>\n\u003cp>Many are also angry and frustrated by Cuba’s policy of \u003ca href=\"https://www.washingtonpost.com/world/the_americas/cuba-opens-foreign-currency-only-shops-ends-tax-on-dollar/2020/07/20/5ebad662-cadd-11ea-99b0-8426e26d203b_story.html\">selling food in U.S dollars\u003c/a> — which most of the country’s people don’t earn.\u003c/p>\n\u003cp>Remittances from relatives in the U.S. and elsewhere are also down. And like many places, Cuba’s tourism industry has been hollowed out by more than a year of travel restrictions due to COVID-19.\u003c/p>\n\u003cp>It’s not yet clear what will happen next, Torres said.\u003c/p>\n\u003cp>“Even if the government retains control, which is the most likely scenario, Cubans now see what they can do if enough people come out to protest,” she said. “So the genie is out of the bottle now and the frustration is not going anywhere.”\u003c/p>\n\u003cp>With the government facing a deep crisis, she warned, we’ll likely see more repression in the coming days.\u003c/p>\n\u003ch3>The Cuban government is blaming the U.S. \u003c/h3>\n\u003cp>\u003cem>Granma\u003c/em>, the Communist Party newspaper, \u003ca href=\"http://en.granma.cu/cuba/2021-07-12/san-antonio-de-los-banos-whatever-it-takes-diaz-canel\">blames the protests\u003c/a> on “annexationist interests, paid and directed by the United States.”\u003c/p>\n\u003cp>Díaz-Canel has said Cuba is facing difficulties that it knew were coming when the U.S. put tight economic sanctions on the country. And while the pandemic has made the situation worse, the president said every country in the world is being forced to cope with the coronavirus.\u003c/p>\n\u003cp>In a speech Monday, Díaz-Canel also dwelled on his country’s national electrical system, saying its infrastructure is hobbled by both the U.S. embargo and by overconsumption.\u003c/p>\n\u003ch3>The U.S. stance\u003c/h3>\n\u003cp>President Biden said he strongly supports the protesters.\u003c/p>\n\u003cp>“The Cuban people are demanding their freedom from an authoritarian regime,” Biden said during a White House event Monday. “I don’t think we’ve seen anything like these protests in a long, long time if, quite frankly, ever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Biden added, “The U.S. stands firmly with the people of Cuba as they assert their universal rights. And we call on the government of Cuba to refrain from violence in their attempt to silence the voices of the people of Cuba.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Hip-Hop+Song+That%27s+Driving+Cuba%27s+Unprecedented+Protests&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Spears' Case Goes Back To Court — Here's What Could Be Next For Her Conservatorship",
"headTitle": "Spears’ Case Goes Back To Court — Here’s What Could Be Next For Her Conservatorship | KQED",
"content": "\u003cp>Wednesday is set to be an important day in court for Britney Spears. Since her \u003ca href=\"https://www.npr.org/2021/06/24/1009858617/britney-spears-transcript-court-hearing-conservatorship\">searing open testimony\u003c/a> describing life under her conservatorship, there’ve been some big changes to her legal situation. A wealth management company, Bessemer Trust, which had been set to take over as co-conservator for Spears’ estate, requested to resign. Her court-appointed attorney Sam Ingham also requested to resign, “effective upon the appointment of new court-appointed counsel.” Her mother, Lynne Spears, has also requested that Britney Spears be allowed her own private lawyer. \u003c/p>\n\u003cp>But one thing that hasn’t happened in the last few weeks is anyone filing a motion to either end the conservatorship or remove her father, Jamie Spears, as a conservator. Something Spears made explicitly clear in her statements that she wanted. \u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/06/24/1009726455/britney-spears-conservatorship-how-thats-supposed-to-work\">Conservatorships and guardianships\u003c/a> are tricky and ending them can be difficult. \u003c/p>\n\u003cp>Nina Kohn, a law professor at Syracuse University who specializes in elder law, says that the Spears case has exposed some of the national problems with guardianship and conservatorship, including “how difficult it can be to get your rights restored if you’ve been judged incapacitated,” she says. \u003c/p>\n\u003cp>So what options does Britney Spears legally have? \u003c/p>\n\u003ch3>“I honestly didn’t know that.”\u003c/h3>\n\u003cp>During Spears’ testimony, she revealed that she didn’t even know ending the conservatorship was an option. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ma’am, I didn’t know I could petition the conservatorship to end it. I’m sorry for my ignorance, but I honestly didn’t know that,” she told the judge. \u003c/p>\n\u003cp>She can, and in fact, so can other people on her behalf. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/codes_displaySection.xhtml?sectionNum=1861.&lawCode=PROB\">California Probate Code Section 186\u003c/a>\u003ca href=\"https://california.public.law/codes/ca_prob_code_section_1861\">1\u003c/a> states that a petition to end a conservatorship may be filed by the conservator, the conservatee, or “The spouse, or domestic partner, or any relative or friend of the conservatee or other interested person.” \u003c/p>\n\u003cp>(“Interested person” is a bit of a squishy term. Kohn says that any fan couldn’t necessarily file a petition on Spears’ behalf, but it’s meant to recognize diverse family and friendship connections that don’t require blood or any time of formal recognition.) \u003c/p>\n\u003cp>From there, Spears would have to show proof that she can take care of herself both personally and financially. Which is the hard part — for instance, how do you show you’ve been able to pay your bills when you haven’t been allowed to pay your bills? Kohn says that states like California put the burden of proof on the individual. “And that’s especially a problem because the person subject to conservatorship or guardianship is already disadvantaged by the bias and stigma created by the initial determination that they lack capacity,” she said. \u003c/p>\n\u003ch3>The court can give the conservatee more power … if it chooses \u003c/h3>\n\u003cp>But even if the court was uncertain about Spears’ capacity, it does have the ability to grant her back some power over her money, says Ken Heisz, a partner at Gorman & Miller, who’s written about the opportunities for\u003ca href=\"https://www.naela.org/NewsJournalOnline/OnlineJournalArticles/OnlineMarch2021/Conservatorships.aspx?subid=1191\"> financial abuse in conservatorships\u003c/a>. This wouldn’t terminate the conservatorship, but it would give the conservatee more opportunities and authority to make decisions. \u003c/p>\n\u003cp>And those decisions can “be submitted to the court for the court to view,” says Heisz. That way a conservatee can start to prove that they’re able to take care of themselves.\u003c/p>\n\u003cp>The court actually has a lot of power in these situations. Kohn says that even if Spears never files any petition to end the conservatorship the court has the power to do so itself.\u003c/p>\n\u003cp>California also has probate court investigators, says Heisz. And their job is to periodically go out and visit with the conservatees, spend time with them, and submit a report to the court. While these reports are sealed, \u003ca href=\"https://www.nytimes.com/2021/06/22/arts/music/britney-spears-conservatorship.html\"> \u003cem>The New York Times has reported\u003c/em>\u003c/a> that Spears told a court investigator back in 2016, that the conservatorship had “too much control” over her life.\u003c/p>\n\u003ch3>An opportunity for broader change?\u003c/h3>\n\u003cp>While Spears’ remote appearance in front of the court was a turning point in her case, Heisz hopes that this option could be used more widely in other guardianship or conservatorship cases. Conservatees are often infirm or frail, making public appearances in front of a judge difficult and burdensome. \u003c/p>\n\u003cp>“But the pandemic has made judges and attorneys more comfortable with Zoom-type hearings,” says Heisz. “And requiring such would be a safeguard against the occasional rogue attorney or conservator who are telling the court something different than what the conservatee wants.”\u003c/p>\n\u003cp>Kohn also hopes the attention to the Spears case will bring momentum into changing current guardianship and conservatorship laws nationwide. Kohn had a hand in drafting\u003ca href=\"https://www.guardianship.org/wp-content/uploads/2018/09/UGCOPPAAct_UGPPAct.pdf\"> model legislation\u003c/a> by the Uniform Law Commission that would reform laws to make it harder to impose guardianships and conservatorships, and easier to modify or end them. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Spears’ case might seem odd and outrageous, Kohn says for people working on these issues every day, “it’s really just showcasing problems that are very familiar and very well known.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spears%27+Case+Goes+Back+To+Court+%E2%80%94+Here%27s+What+Could+Be+Next+For+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "While a flurry of petitions and requests were made after the popstar's testimony, no one has filed a petition to end the conservatorship. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wednesday is set to be an important day in court for Britney Spears. Since her \u003ca href=\"https://www.npr.org/2021/06/24/1009858617/britney-spears-transcript-court-hearing-conservatorship\">searing open testimony\u003c/a> describing life under her conservatorship, there’ve been some big changes to her legal situation. A wealth management company, Bessemer Trust, which had been set to take over as co-conservator for Spears’ estate, requested to resign. Her court-appointed attorney Sam Ingham also requested to resign, “effective upon the appointment of new court-appointed counsel.” Her mother, Lynne Spears, has also requested that Britney Spears be allowed her own private lawyer. \u003c/p>\n\u003cp>But one thing that hasn’t happened in the last few weeks is anyone filing a motion to either end the conservatorship or remove her father, Jamie Spears, as a conservator. Something Spears made explicitly clear in her statements that she wanted. \u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/06/24/1009726455/britney-spears-conservatorship-how-thats-supposed-to-work\">Conservatorships and guardianships\u003c/a> are tricky and ending them can be difficult. \u003c/p>\n\u003cp>Nina Kohn, a law professor at Syracuse University who specializes in elder law, says that the Spears case has exposed some of the national problems with guardianship and conservatorship, including “how difficult it can be to get your rights restored if you’ve been judged incapacitated,” she says. \u003c/p>\n\u003cp>So what options does Britney Spears legally have? \u003c/p>\n\u003ch3>“I honestly didn’t know that.”\u003c/h3>\n\u003cp>During Spears’ testimony, she revealed that she didn’t even know ending the conservatorship was an option. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ma’am, I didn’t know I could petition the conservatorship to end it. I’m sorry for my ignorance, but I honestly didn’t know that,” she told the judge. \u003c/p>\n\u003cp>She can, and in fact, so can other people on her behalf. \u003ca href=\"https://leginfo.legislature.ca.gov/faces/codes_displaySection.xhtml?sectionNum=1861.&lawCode=PROB\">California Probate Code Section 186\u003c/a>\u003ca href=\"https://california.public.law/codes/ca_prob_code_section_1861\">1\u003c/a> states that a petition to end a conservatorship may be filed by the conservator, the conservatee, or “The spouse, or domestic partner, or any relative or friend of the conservatee or other interested person.” \u003c/p>\n\u003cp>(“Interested person” is a bit of a squishy term. Kohn says that any fan couldn’t necessarily file a petition on Spears’ behalf, but it’s meant to recognize diverse family and friendship connections that don’t require blood or any time of formal recognition.) \u003c/p>\n\u003cp>From there, Spears would have to show proof that she can take care of herself both personally and financially. Which is the hard part — for instance, how do you show you’ve been able to pay your bills when you haven’t been allowed to pay your bills? Kohn says that states like California put the burden of proof on the individual. “And that’s especially a problem because the person subject to conservatorship or guardianship is already disadvantaged by the bias and stigma created by the initial determination that they lack capacity,” she said. \u003c/p>\n\u003ch3>The court can give the conservatee more power … if it chooses \u003c/h3>\n\u003cp>But even if the court was uncertain about Spears’ capacity, it does have the ability to grant her back some power over her money, says Ken Heisz, a partner at Gorman & Miller, who’s written about the opportunities for\u003ca href=\"https://www.naela.org/NewsJournalOnline/OnlineJournalArticles/OnlineMarch2021/Conservatorships.aspx?subid=1191\"> financial abuse in conservatorships\u003c/a>. This wouldn’t terminate the conservatorship, but it would give the conservatee more opportunities and authority to make decisions. \u003c/p>\n\u003cp>And those decisions can “be submitted to the court for the court to view,” says Heisz. That way a conservatee can start to prove that they’re able to take care of themselves.\u003c/p>\n\u003cp>The court actually has a lot of power in these situations. Kohn says that even if Spears never files any petition to end the conservatorship the court has the power to do so itself.\u003c/p>\n\u003cp>California also has probate court investigators, says Heisz. And their job is to periodically go out and visit with the conservatees, spend time with them, and submit a report to the court. While these reports are sealed, \u003ca href=\"https://www.nytimes.com/2021/06/22/arts/music/britney-spears-conservatorship.html\"> \u003cem>The New York Times has reported\u003c/em>\u003c/a> that Spears told a court investigator back in 2016, that the conservatorship had “too much control” over her life.\u003c/p>\n\u003ch3>An opportunity for broader change?\u003c/h3>\n\u003cp>While Spears’ remote appearance in front of the court was a turning point in her case, Heisz hopes that this option could be used more widely in other guardianship or conservatorship cases. Conservatees are often infirm or frail, making public appearances in front of a judge difficult and burdensome. \u003c/p>\n\u003cp>“But the pandemic has made judges and attorneys more comfortable with Zoom-type hearings,” says Heisz. “And requiring such would be a safeguard against the occasional rogue attorney or conservator who are telling the court something different than what the conservatee wants.”\u003c/p>\n\u003cp>Kohn also hopes the attention to the Spears case will bring momentum into changing current guardianship and conservatorship laws nationwide. Kohn had a hand in drafting\u003ca href=\"https://www.guardianship.org/wp-content/uploads/2018/09/UGCOPPAAct_UGPPAct.pdf\"> model legislation\u003c/a> by the Uniform Law Commission that would reform laws to make it harder to impose guardianships and conservatorships, and easier to modify or end them. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While Spears’ case might seem odd and outrageous, Kohn says for people working on these issues every day, “it’s really just showcasing problems that are very familiar and very well known.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spears%27+Case+Goes+Back+To+Court+%E2%80%94+Here%27s+What+Could+Be+Next+For+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "What’s Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading | KQED",
"content": "\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x580mowu5Gs\u003c/p>\n\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpE4893PxqE\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQuf18ajNIr/\u003c/p>\n\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oCUFC-ULdOk\u003c/p>\n\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBPzxmxf9ig\u003c/p>\n\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\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=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&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 a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\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/x580mowu5Gs'\n title='//www.youtube.com/embed/x580mowu5Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\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/QpE4893PxqE'\n title='//www.youtube.com/embed/QpE4893PxqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\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/oCUFC-ULdOk'\n title='//www.youtube.com/embed/oCUFC-ULdOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\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/MBPzxmxf9ig'\n title='//www.youtube.com/embed/MBPzxmxf9ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\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=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Summer of Soul' Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock",
"headTitle": "‘Summer of Soul’ Celebrates a 1969 Black Cultural Festival Eclipsed By Woodstock | KQED",
"content": "\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1-siC9cugqA\u003c/p>\n\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>[aside postid='arts_13894392']The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>[aside postid='arts_13889915']“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He has reclaimed a crucial moment in history, reminding the world of the resilience and power of Black culture in the process.\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=%27Summer+Of+Soul%27+Celebrates+A+1969+Black+Cultural+Festival+Eclipsed+By+Woodstock&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the funky, opening groove of the film’s first song, Stevie Wonder’s slinky jam on the Isley’s Brothers’ “It’s Your Thing,” it is obvious the new documentary \u003cem>Summer of Soul (…or When the Revolution Could Not Be Televised)\u003c/em> will be packed with little-seen, landmark live performances.\u003c/p>\n\u003cp>But watch a little longer, as Wonder sits behind a drumkit to whip off a crackling drum solo. As he works the kit, clips of news reports and pundits surface talking about the crucial political and social issues facing Black people in 1969. And you realize you’re seeing something more.\u003c/p>\n\u003cp>Crafted from footage of the 1969 Harlem Cultural Festival—an event so filled with stars from soul, R&B, blues and jazz they called it the Black Woodstock—\u003cem>Summer of Soul\u003c/em> is a breathtaking chronicle of Black culture in a pivotal moment.\u003c/p>\n\u003cp>A wide constellation of stars turned up for the festival, which drew more than 300,000 people over six free concerts held in the space now known as Marcus Garvey Park. The roster of performers included Wonder, Nina Simone, Gladys Knight and the Pips, Mahalia Jackson, The Staples Singers, B.B. King, Ray Barretto, The Temptations’ former frontman David Ruffin, The 5th Dimension, and more.\u003c/p>\n\u003cp>Just documenting their jaw-dropping live work would add up to an amazing concert film. But \u003cem>Summer of Soul\u003c/em> uses the music as both inspiration and foundation, setting the scene for subjects to talk about everything from the debate over non-violence in civil rights work to Harlem’s status as a cultural oasis for Black people.\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/1-siC9cugqA'\n title='//www.youtube.com/embed/1-siC9cugqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Remixing and recovering Black history\u003c/h3>\n\u003cp>If this sounds like the remix work of a master DJ, that’s because it is. \u003cem>Summer of Soul \u003c/em>is the directorial debut of Ahmir “Questlove” Thompson, the renowned DJ, drummer, producer and bandleader behind hip hop legends The Roots. Questlove crams the movie with historic musical moments. And, through new interviews, he lets musicians tell heartfelt stories about what led them to the festival.\u003c/p>\n\u003cp>“We were constantly being attacked because we weren’t, quote-unquote, ‘Black enough,’ ” says Marilyn McCoo, a member of the velvety-smooth, all-Black pop vocal group The 5th Dimension. She notes fans of their hits, like “Up, Up and Away,” sometimes thought the group was white until they saw an album cover or watched them perform live.\u003c/p>\n\u003cp>“Sometimes, we were called the Black group with the white sound … we didn’t like that … because, how do you color a sound?” says McCoo, tearing up while she watched footage of the group performing another hit, “Aquarius/Let the Sunshine In.”\u003c/p>\n\u003cp>“That was one of the reasons why performing in Harlem was so important to us,” she adds, voice cracking. “Because we wanted our people to know what we were about.”\u003c/p>\n\u003cp>That kind of emotion surfaces often in \u003cem>Summer of Soul\u003c/em>, as the camera captures people who attended the festival more than 50 years ago, crying as they remember the power of seeing so many Black people in one place, celebrating Black culture.\u003c/p>\n\u003cp>“As far as I could see, it was just Black people,” says screenwriter and producer Musa Jackson, who was a child when he attended the festival. “This was the first time I had seen so many of us … It was the ultimate Black barbecue.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film lines up an impressive array of voices for new interviews, including Chris Rock, Sheila E., Lin-Manuel Miranda and his father, Luis Miranda. By 1969, the country had already endured the assassinations of John F. Kennedy and Martin Luther King Jr.; the film suggests one reason city officials backed the festival was in hope the celebration would prevent rioting on the anniversary of King’s murder.\u003c/p>\n\u003cp>The film also reflects significant shifts in Black culture and expression at that pivotal moment. Award-winning journalist and former NPR correspondent Charlayne Hunter-Gault spoke about transitioning from use of the word “negro” to “Black” in describing African Americans while working at \u003cem>The New York Times \u003c/em>in 1969. When an editor there changed words in one of her stories from “Black” to “negro,” she responded with an 11-page memo that convinced editor Abe Rosenthal to update the paper’s policy.\u003c/p>\n\u003cp>One of the film’s most affecting moments comes when gospel legends Mahalia Jackson and Mavis Staples team up to sing “Take My Hand, Precious Lord.” The gospel song was a favorite of civil rights leader Rev. Martin Luther King Jr., who had been assassinated one year earlier.\u003c/p>\n\u003cp>In a spellbinding sequence, the movie alternates between a new interview with the Rev. Jesse Jackson and footage from the festival where Jackson tells the crowd Dr. King mentioned the song in his last words before he was shot.\u003c/p>\n\u003cp>“Gospel was therapy for the stress and pressure of being Black in America,” Rev. Al Sharpton says, earlier in the film. “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.”\u003c/p>\n\u003ch3>In once unseen and unclaimed footage, an erasure\u003c/h3>\n\u003cp>Director Hal Tulchin filmed all the performances: Six different free shows over six weeks. But the Woodstock Festival, which took place that same summer, completely overshadowed the Harlem Cultural Festival. When Tulchin tried to sell the footage to a film or TV outlet, no one wanted it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The fact that 40 hours of this footage was kept from the public is living proof that revisionist history exists,” says Questlove, quoted in the film’s press materials. “I want to make sure Black erasure doesn’t happen during my lifetime … and the film was an opportunity to work towards that cause.”\u003c/p>\n\u003cp>That’s why the work of Questlove and his producers in unearthing the footage and shaping it into such an emotional, nostalgic, insightful story is so important.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, the San Francisco Gay Men’s Chorus (SFGMC) announced that Dr. Tim Seelig will retire from his position as Artistic Director and Conductor at the end of the SFGMC’s 44th season in 2022.\u003c/p>\n\u003cp>Seelig served 10 years in this position, and the organization expanded to over 300 singers during his tenure. He oversaw the Lavender Pen Tour, which took SFGMC through a number of southern states in 2017 as a response to the election of former President Trump, and the release of \u003cem>Gay Chorus Deep South\u003c/em>, the award-winning documentary of the tour. During his time as Artistic Director, the chorus established a new home at 170 Valencia St., and launched its nationwide educational youth outreach program RHYTHM. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>“I’ve seen so many kinds of love,” Sarah Rose Janko croons in “Love Song,” the slow-tempo single from Dawn Riding’s sophomore album, \u003ca href=\"https://dawnriding.bandcamp.com/album/the-light\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Light\u003c/i>\u003c/a>, released by Oakland label \u003ca href=\"https://longroadsociety.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Long Road Society\u003c/a> on June 25. She counts the ways love manifests, by turns rough and sweet, scary and commonplace. Love can be flowers or Christmas dinner, but it can also mean lying to a judge and running through the streets. In its most corrupted, abusive extreme, she notes, it can take the form of verbal and physical threats. “Love Song” culminates in a direct entreaty to Janko’s listener. “Scientists and analysts, they don’t know your heart,” she sings. “Don’t ask them what it is, tell me what you want.”[aside postID='arts_13853114']\u003c/p>\n\u003cp>The Dawn Riding trio is tight and spare on this album. Hall McCann joins Janko’s acoustic guitar with electric guitar and harmony vocals, and Jasmyn Wong’s drums steadily guide each country-folk track. Janko’s lyrics on \u003ci>The Light\u003c/i> are often hyper-specific: “Avondale” references a night spent in a parish women’s jail, another song a funeral in South Missouri. Her words paint pictures of places and people on the edges of American society. Sorrow, yearning and absence are palpable.\u003c/p>\n\u003cp>“Love Song,” like its title suggests, is less about the specifics of a particular romance than the expansive ways we can experience love. A music video by photographer Chris Berntsen illustrates the song with images of queer relationships and youthful rebellion: freight-hopping, swimming holes, groups of gorgeous men at the beach. But despite this connection to often sunny imagery, “Love Song” feels to me like something played late at night in a quietly attentive bar, perfect for a shambling slow dance with whoever makes you feel right, and good enough.\u003c/p>\n\u003cp>https://youtu.be/sIZwk2pfsPQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>“I’ve seen so many kinds of love,” Sarah Rose Janko croons in “Love Song,” the slow-tempo single from Dawn Riding’s sophomore album, \u003ca href=\"https://dawnriding.bandcamp.com/album/the-light\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Light\u003c/i>\u003c/a>, released by Oakland label \u003ca href=\"https://longroadsociety.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Long Road Society\u003c/a> on June 25. She counts the ways love manifests, by turns rough and sweet, scary and commonplace. Love can be flowers or Christmas dinner, but it can also mean lying to a judge and running through the streets. In its most corrupted, abusive extreme, she notes, it can take the form of verbal and physical threats. “Love Song” culminates in a direct entreaty to Janko’s listener. “Scientists and analysts, they don’t know your heart,” she sings. “Don’t ask them what it is, tell me what you want.”\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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