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"content": "\u003cp>\u003cem>Aviary\u003c/em>, Los Angeles songwriter and composer Julia Holter’s fifth studio album, opens with an eruption of cymbals and strings. The song is called “Turn the Light On,” and with a quality typical of Holter’s work, it billows and swirls without losing definition, suffused with glinting keys yet grounded by a warmly organic rhythm section. \u003c/p>\n\u003cp>The album, which appeared last year on Domino Records, is the latest entry in a startlingly dynamic, pan-Californian catalog: Holter seems as familiar with the experimental electronic legacy of Mills College as she does with the mystique of Laurel Canyon. (Her band has strong ties to the Bay Area.) She processes her voice beyond recognition, and she uses the magic of enunciation to render words otherworldly. She references ancient and jazz age literature, and she makes harpsichord sound contemporary. \u003cem>Aviary, \u003c/em>with its dense orchestration and powerful centrifuge, also carries forward the ensemble feel Holter first firmly struck on the stunning \u003cem>Loud City Song\u003c/em> in 2013.\u003c/p>\n\u003cp>Holter performs Fri., March 8 at the \u003ca href=\"https://slimspresents.com/event/julia-holter-gamh/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://juliaholter.bandcamp.com/album/aviary\">Aviary by Julia Holter\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Aviary\u003c/em>, Los Angeles songwriter and composer Julia Holter’s fifth studio album, opens with an eruption of cymbals and strings. The song is called “Turn the Light On,” and with a quality typical of Holter’s work, it billows and swirls without losing definition, suffused with glinting keys yet grounded by a warmly organic rhythm section. \u003c/p>\n\u003cp>The album, which appeared last year on Domino Records, is the latest entry in a startlingly dynamic, pan-Californian catalog: Holter seems as familiar with the experimental electronic legacy of Mills College as she does with the mystique of Laurel Canyon. (Her band has strong ties to the Bay Area.) She processes her voice beyond recognition, and she uses the magic of enunciation to render words otherworldly. She references ancient and jazz age literature, and she makes harpsichord sound contemporary. \u003cem>Aviary, \u003c/em>with its dense orchestration and powerful centrifuge, also carries forward the ensemble feel Holter first firmly struck on the stunning \u003cem>Loud City Song\u003c/em> in 2013.\u003c/p>\n\u003cp>Holter performs Fri., March 8 at the \u003ca href=\"https://slimspresents.com/event/julia-holter-gamh/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://juliaholter.bandcamp.com/album/aviary\">Aviary by Julia Holter\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”qYTJZTHAJvWQ1Sqx5zX0jBqcwh5erf4r”]\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>[contextly_sidebar id=”fk0PNUrUjkPDutigRWGEhENWyHaULQ6m”]\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>[contextly_sidebar id=”ShFnV1kWWoMxrgeXFX1y5tu0ct9hpTul”]\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 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=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.",
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"title": "Still Tippin': Solange At Home In Houston | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The nonprofit \u003ca href=\"https://www.hiphopforchange.org/\" target=\"_blank\" rel=\"noopener\">Hip-Hop for Change\u003c/a> mobilizes young people to fight for social justice using hip-hop culture as an educational tool, and the organization is gearing up for its third annual \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">Women’s Empowerment Summit\u003c/a>, a free concert and panel discussion starring some of the leading ladies of the Bay Area hip-hop scene, plus a national headliner: Atlanta rapper \u003ca href=\"http://sarocthemc.com\" target=\"_blank\" rel=\"noopener\">Sa-Roc\u003c/a>, whose last Oakland appearance was when she joined headliner Black Thought on stage at \u003ca href=\"https://www.kqed.org/arts/13840194/hiero-day-was-a-triumphant-close-to-a-summer-of-combating-cultural-erasure\" target=\"_blank\" rel=\"noopener\">Hiero Day 2018\u003c/a>. [aside postID=\"arts_13078404\"]\u003c/p>\n\u003cp>Local MCs \u003ca href=\"https://aliasharrief.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alia Sharrief\u003c/a> and \u003ca href=\"https://www.msryannicole.com\" target=\"_blank\" rel=\"noopener\">Ryan Nicole \u003c/a>will join Sa-Roc on stage. Sharrief is an activist and founder of the \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">Hijabi Chronicles\u003c/a>, a platform that promotes Muslim women’s creativity. Ryan Nicole, a TEDx fellow and stage actress, is also a community organizer and brand consultant for grassroots organizations and small businesses. \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener\">DJs Umami\u003c/a> and \u003ca href=\"https://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a>, both prolific in the local nightlife scene, will spin as well. [aside postID=\"arts_12539759\"]\u003c/p>\n\u003cp>The panel portion of the Women’s Empowerment Summit features rapper, activist and former music journalist \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a> and poet, novelist and UC Berkeley professor \u003ca href=\"https://ayadeleon.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Aya de Leon\u003c/a>. They’ll be in conversation about women’s leadership and social issues affecting the Bay Area, with Sterling James from \u003ca href=\"https://kblx.com/sterling-james/\" target=\"_blank\" rel=\"noopener\">KBLX\u003c/a> as host.\u003c/p>\n\u003cp>The Women’s Empowerment Summit takes place on March 9 at the Uptown Night Club in Oakland. Details \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/rxTBeiCwzCo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit \u003ca href=\"https://www.hiphopforchange.org/\" target=\"_blank\" rel=\"noopener\">Hip-Hop for Change\u003c/a> mobilizes young people to fight for social justice using hip-hop culture as an educational tool, and the organization is gearing up for its third annual \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">Women’s Empowerment Summit\u003c/a>, a free concert and panel discussion starring some of the leading ladies of the Bay Area hip-hop scene, plus a national headliner: Atlanta rapper \u003ca href=\"http://sarocthemc.com\" target=\"_blank\" rel=\"noopener\">Sa-Roc\u003c/a>, whose last Oakland appearance was when she joined headliner Black Thought on stage at \u003ca href=\"https://www.kqed.org/arts/13840194/hiero-day-was-a-triumphant-close-to-a-summer-of-combating-cultural-erasure\" target=\"_blank\" rel=\"noopener\">Hiero Day 2018\u003c/a>. \u003c/p>\u003c/div>",
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"title": "On 'When I Get Home,' the Multifaceted Solange Steps into Her Power",
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"content": "\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>“I can’t be a singular expression of myself,” Solange whispers on her new album. “There’s too many parts, too many spaces, too many manifestations, too many lines, too many curves, too many troubles, too many journeys, too many mountains, too many rivers.”\u003c/p>\n\u003cp>With pulses of wah-wah pedal guitar almost drowning out her voice, the the 20-second snippet, “Can I Have the Mic (Interlude),” is easy to miss. But it’s the central thesis of \u003cem>When I Get Home\u003c/em> (Columbia Records), a surprise record that the artist officially announced only six hours before it dropped on Friday.\u003c/p>\n\u003cp>Building on the dreamy jazz and soul vibe of her acclaimed 2016 album \u003cem>A Seat at the Table\u003c/em>, and expanding its lyrical themes of black joy, pride and liberation, \u003cem>When I Get Home\u003c/em> shows Solange exacting her vision with a bold confidence. It’s as if she’s no longer afraid of misinterpretation, because she trusts her audience to get it.\u003c/p>\n\u003cp>\u003cem>A Seat at the Table\u003c/em> was a departure from Solange’s more produced pop sound of years past. Reinvention is always risky, but Solange clearly took care to articulate her message in the album’s manifesto-like lyrics (“Don’t Touch My Hair,” “F.U.B.U.,” “Mad”), and deliberately placed snippets of conversation with Master P about black artists taking ownership of—and building wealth from—their cultural production.\u003c/p>\n\u003cp>Resonating with fans and critics alike, those ideas propelled Solange into her in-the-moment, relaxed approach on \u003cem>When I Get Home\u003c/em>, which sees her freer, looser and less guarded with her vocals and compositions. (Despite a roster of stellar collaborators like the Internet’s Steve Lacy, Tyler, the Creator, Standing on the Corner and Pharrell, Solange is credited as the sole lyricist, producer or composer on many of the tracks.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4WF4HvVT7VjGnVjxjoCR6w\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Solange’s passion for and scholarship of black American culture is the connective tissue here for the disparate sounds she mixes into an oozing, honey-like drip: jazz drums, funky bass lines, fluttering keys and feather-light harmonies. On “Down with the Clique,” we hear the influence of Alice Coltrane’s celestial piano playing; “Almeda’s” rickety high-hats recall today’s radio-friendly trap pop as well as the HBCU marching bands that inspired her sister \u003ca href=\"https://www.kqed.org/news/11662453/photos-beyonce-turns-coachella-into-beychella\" target=\"_blank\" rel=\"noopener\">Beyoncé’s Coachella performance\u003c/a>. Sample-wise, the album draws from Mike Jones, Devin the Dude and Scarface, a wink to Solange’s hometown of Houston. Still, Solange’s references to these artists and aesthetics are subtle, and float like buoys in the raw, immediate, neo-soul instrumentation that flows from one track into the next.\u003c/p>\n\u003cp>Nourished by these multitudes of black creative expression from various decades, Solange celebrates her culture, heritage and self with a palpable sense of fun. On “My Skin My Logo,” which features Gucci Mane, her unpolished rapping lapses into giggles mid-verse. “Binz” sees her riffing with improvised harmonies. Her chorus of “ay!”s on “Sound of Rain” turn the pensive, piano-forward track into a twerkable beat, even while its lyrics underscore an enduring thread in Solange’s work: healing through purpose, intention and ritual, and using the groove like an energetic \u003cem>limpia\u003c/em>: “And the sound of rain helps me let go of the pain.”\u003c/p>\n\u003cp>Solange is a pop star and a \u003ca href=\"https://hammer.ucla.edu/solange/\" target=\"_blank\" rel=\"noopener\">performance artist\u003c/a> who’s been embraced by the \u003ca href=\"https://saintheron.com/a-reflection-on-solanges-guggenheim-museum-performance-piece-an-ode-to/\" target=\"_blank\" rel=\"noopener\">upper echelons of the art world\u003c/a>, and she’s fully come into her power by owning her multiplicities and refusing to explain herself to one group or the other. It would be an oversimplification to say that she “elevates” elements of more accessible black popular culture by featuring Playboi Carti on \u003cem>When I Get Home\u003c/em>, or turning the former social networking site \u003ca href=\"http://blackplanet.com/solange/\" target=\"_blank\" rel=\"noopener\">BlackPlanet.com\u003c/a> into an art project. There is no “high” and “low” for Solange. For her, creative expression is sacred.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>“I can’t be a singular expression of myself,” Solange whispers on her new album. “There’s too many parts, too many spaces, too many manifestations, too many lines, too many curves, too many troubles, too many journeys, too many mountains, too many rivers.”\u003c/p>\n\u003cp>With pulses of wah-wah pedal guitar almost drowning out her voice, the the 20-second snippet, “Can I Have the Mic (Interlude),” is easy to miss. But it’s the central thesis of \u003cem>When I Get Home\u003c/em> (Columbia Records), a surprise record that the artist officially announced only six hours before it dropped on Friday.\u003c/p>\n\u003cp>Building on the dreamy jazz and soul vibe of her acclaimed 2016 album \u003cem>A Seat at the Table\u003c/em>, and expanding its lyrical themes of black joy, pride and liberation, \u003cem>When I Get Home\u003c/em> shows Solange exacting her vision with a bold confidence. It’s as if she’s no longer afraid of misinterpretation, because she trusts her audience to get it.\u003c/p>\n\u003cp>\u003cem>A Seat at the Table\u003c/em> was a departure from Solange’s more produced pop sound of years past. Reinvention is always risky, but Solange clearly took care to articulate her message in the album’s manifesto-like lyrics (“Don’t Touch My Hair,” “F.U.B.U.,” “Mad”), and deliberately placed snippets of conversation with Master P about black artists taking ownership of—and building wealth from—their cultural production.\u003c/p>\n\u003cp>Resonating with fans and critics alike, those ideas propelled Solange into her in-the-moment, relaxed approach on \u003cem>When I Get Home\u003c/em>, which sees her freer, looser and less guarded with her vocals and compositions. (Despite a roster of stellar collaborators like the Internet’s Steve Lacy, Tyler, the Creator, Standing on the Corner and Pharrell, Solange is credited as the sole lyricist, producer or composer on many of the tracks.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/4WF4HvVT7VjGnVjxjoCR6w\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Solange’s passion for and scholarship of black American culture is the connective tissue here for the disparate sounds she mixes into an oozing, honey-like drip: jazz drums, funky bass lines, fluttering keys and feather-light harmonies. On “Down with the Clique,” we hear the influence of Alice Coltrane’s celestial piano playing; “Almeda’s” rickety high-hats recall today’s radio-friendly trap pop as well as the HBCU marching bands that inspired her sister \u003ca href=\"https://www.kqed.org/news/11662453/photos-beyonce-turns-coachella-into-beychella\" target=\"_blank\" rel=\"noopener\">Beyoncé’s Coachella performance\u003c/a>. Sample-wise, the album draws from Mike Jones, Devin the Dude and Scarface, a wink to Solange’s hometown of Houston. Still, Solange’s references to these artists and aesthetics are subtle, and float like buoys in the raw, immediate, neo-soul instrumentation that flows from one track into the next.\u003c/p>\n\u003cp>Nourished by these multitudes of black creative expression from various decades, Solange celebrates her culture, heritage and self with a palpable sense of fun. On “My Skin My Logo,” which features Gucci Mane, her unpolished rapping lapses into giggles mid-verse. “Binz” sees her riffing with improvised harmonies. Her chorus of “ay!”s on “Sound of Rain” turn the pensive, piano-forward track into a twerkable beat, even while its lyrics underscore an enduring thread in Solange’s work: healing through purpose, intention and ritual, and using the groove like an energetic \u003cem>limpia\u003c/em>: “And the sound of rain helps me let go of the pain.”\u003c/p>\n\u003cp>Solange is a pop star and a \u003ca href=\"https://hammer.ucla.edu/solange/\" target=\"_blank\" rel=\"noopener\">performance artist\u003c/a> who’s been embraced by the \u003ca href=\"https://saintheron.com/a-reflection-on-solanges-guggenheim-museum-performance-piece-an-ode-to/\" target=\"_blank\" rel=\"noopener\">upper echelons of the art world\u003c/a>, and she’s fully come into her power by owning her multiplicities and refusing to explain herself to one group or the other. It would be an oversimplification to say that she “elevates” elements of more accessible black popular culture by featuring Playboi Carti on \u003cem>When I Get Home\u003c/em>, or turning the former social networking site \u003ca href=\"http://blackplanet.com/solange/\" target=\"_blank\" rel=\"noopener\">BlackPlanet.com\u003c/a> into an art project. There is no “high” and “low” for Solange. For her, creative expression is sacred.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two-and-a-half years after the release of \u003cem>A Seat At The\u003c/em> \u003cem>Table\u003c/em>, Solange shares her surprise CQ visual album \u003cem>When I Get Home. \u003c/em>On Solange’s fourth full-length album since her 2002 debut, \u003cem>Solo Star, \u003c/em>the artist takes listeners on an “exploration of origin” across 19 tracks and a film meshing together static R&B, funk, Zydeco and blues. To accompany the release, Solange \u003ca href=\"https://whenigethome.solangemusic.com/\">announced\u003c/a> nine “album events” in her hometown of Houston, all taking place on March 3.\u003c/p>\n\u003cp>The release was preceded by a takeover of the early-aughts social networking site \u003ca href=\"http://blackplanet.com/solange/\">BlackPlanet.com\u003c/a>, where the 32-year-old artist shared photographs and snippets of video depicting contrasting facets of Southern black life, presented in her signature, simultaneously avant-garde and down-home demeanor; chromed-out cowboy boots paired with bustiers, cornrowed black beauties, vintage Cadillacs, perfectly laid and purposely wack wigs, strippers busting splits on the pole, cowboys waiting on the rails of the bullpen.\u003c/p>\n\u003cp>\u003cem>When I Get Home \u003c/em>is, at face value, an undeniable ode to Solange’s own hometown of Houston, Tx., where it was recorded alongside a long list of notable collaborators. Keeping the theme Houston-as-hell, samples on the album include Devin The Dude, Scarface and Mike Jones. Other contributions on the album include Tyler, The Creator (“Down With The Clique”), Cassie (“Way To The Show”) The-Dream (“Binz”), Gucci Mane (“My Skin My Logo”) and more.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Solange - Things I Imagined (Official Audio)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/upp6RAVaIN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A4WF4HvVT7VjGnVjxjoCR6w\" width=\"600\" height=\"400\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The slow burn of Solange’s previous album, \u003cem>A Seat At The Table\u003c/em>, included a months-long, festival-hopping world tour with a grandiose \u003ca href=\"#v\">stage design\u003c/a> inspired by the iconic sets of Earth, Wind & Fire, a commemorative \u003ca href=\"https://www.anteism.com/shop/a-seat-at-the-table-solange\">book\u003c/a>, and earning numerous accolades and awards. Off of first impressions, there seems little reason to expect any less with \u003cem>When I Get Home. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Solange+Goes+On+An+Exploration+Of+Origin+With+%27When+I+Get+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen former President Barack Obama came to Oakland last week for the national My Brothers Keeper convention, he had no idea he’d be sitting next to Leo Mercer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, he knew he’d be talking to Steph Curry during the town hall discussion at Oakland’s Scottish Rite Temple, where attendees from across all states would be in the house. And I’d imagine Obama was told he’d be asked questions by a few of the young men who sat around him on stage during the conversation.\u003c/p>\n\u003cp>But then there was Leo Mercer, sitting just a few feet away from him.\u003c/p>\n\u003cp>Leo wore a blazer over his hoodie, his long locs done up as if they were defying gravity. I watched him go from wiggling in his seat as the microphone was passed his way to standing firm and delivering a sincere two-part question to the former leader of the free world.\u003c/p>\n\u003cp>“What role does music have in your life?” asked Leo, a 27-year-old Oakland native. “And what role can music have when it comes to liberation, policy change, social change and all those other items?”\u003c/p>\n\u003cp>“Are you a musician?” Obama said, answering Leo’s question with a question. “Yeah,” Leo replied. “I’ll have to listen to some of your tracks now,” Obama said, before going into riff about the discipline it takes to become a professional musician.\u003c/p>\n\u003cp>If you’re like most people, you’d be thrilled to hear Obama say he’ll check out your music. But I couldn’t help but notice that after his pivot, Obama didn’t really answer Leo’s question at all.\u003c/p>\n\u003cfigure id=\"attachment_13851827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg\" alt=\"Leo Mercer at Lake Merritt in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leo Mercer at Lake Merritt in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple days ago, I called Leo to chop it up about his experience. Just as I figured, it was business as usual on a Monday morning. He was on BART, headed to a healing circle with the organization he works for, Urban Peace Movement, taking time to honor the lives of those who had recently passed.\u003c/p>\n\u003cp>I could hear the train doors open and close in the background as we talked about how it felt to be on that stage, sitting a church aisle’s distance from the first African-American President this country has seen. When he asked Obama about music, Leo said, he noticed the same thing I’d noticed.\u003c/p>\n\u003cp>“He didn’t answer the part about what role music can play in terms of social movements and liberation,” said Leo. “He answered the first part, ‘What role does music play in your life?’ So, that was cool—but it would’ve been dope if answered the other part.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leo went on to talk about another music reference Obama made while on stage, one that the media jumped on, when he implied that confident young men don’t need to act like rappers in music videos with gold jewelry and “eight women around you twerking.”\u003c/p>\n\u003cp>“I just saw this article in the \u003cem>New York Times\u003c/em> that was \u003ca href=\"https://www.nytimes.com/2019/02/23/opinion/my-brothers-keeper-obama.html\" target=\"_blank\" rel=\"noopener noreferrer\">kind of shitting on us\u003c/a>. Basically saying Obama was scolding us. I disagree with that… talking about Obama was scolding us, talking about we don’t need to be wearing big chains,” said Leo. “They were basically misinterpreting how Obama was trying to get to us. And, to be honest, he was just keeping it real with us.”\u003c/p>\n\u003cp>Leo noted that the whole conference was about supporting young men—and even if Obama’s “scolding” didn’t come off as supportive to some, Leo understood the intention behind the statement. He understood how that tied into the overall theme of the conference. Hell, that understanding of confidence is probably why he landed in the seat he was in.\u003c/p>\n\u003cp>He told me he got turned down twice before his request to attend was accepted, once through an Instagram competition and again when he applied through Urban Peace Movement. He finally got the green light through the Urban Strategies Council. And when he walked in the door of that conference last week, he says he walked in there trying to gloat.\u003c/p>\n\u003cp>“Ya’ll not about to just have this conference out here and exclude the Oakland cats—the authentic Oakland cats!” said Leo.\u003c/p>\n\u003cfigure id=\"attachment_13851822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg\" alt=\"Former president Barack Obama and the Warriors' Stephen Curry at the My Brither's Keeper conference in Oakland, Feb. 19, 2019.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former president Barack Obama and the Warriors’ Stephen Curry at the My Brother’s Keeper conference in Oakland, Feb. 19, 2019. Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s far as being on stage with Obama, Leo, a performer in his own right, says he had some butterflies.\u003c/p>\n\u003cp>“I was nervous, but I was nervous in a way that was like, this is the uncle I ain’t seen in a minute,” said Leo, with a laugh. “I was nervous, but not nervous enough to be shaking and shit. I felt like talking to him, it was just like talking to Prince.”\u003c/p>\n\u003cp>Leo wasn’t talking about the Prince of \u003cem>Purple Rain\u003c/em>. Dr. Prince White was one of Leo’s mentors; he was also a friend of mine. Prince \u003ca href=\"https://oaklandnorth.net/2018/09/04/remembering-the-social-justice-advocate-dr-prince-white/\" target=\"_blank\" rel=\"noopener noreferrer\">passed last August\u003c/a>. He’s one of the people Leo was headed to honor during the healing circle.\u003c/p>\n\u003cp>Before he passed, Dr. Prince White did all he could to push Leo into political arenas. About two years ago, Prince pulled strings and got Leo to \u003ca href=\"https://www.youtube.com/watch?v=pf7PAlJm2x0\" target=\"_blank\" rel=\"noopener noreferrer\">perform a spoken word piece\u003c/a> in front of current State Superintendent of Schools Tony Thurmond, Assembly member Rob Bonta, and Senator Nancy Skinner.\u003c/p>\n\u003cp>I took photos at that event. That’s about the time I took note of Leo’s potential. But I didn’t know too much of Leo’s backstory until we talked this week.\u003c/p>\n\u003cp>I didn’t know his father was killed in West Oakland’s Lower Bottoms neighborhood in 1993, while Leo’s mother was pregnant with his sister.\u003c/p>\n\u003cp>I didn’t know Leo and his family spent time homeless after losing their house in the Bushrod neighborhood, during the first wave of what we’ve come to realize is a massive overhaul of this town we call home.\u003c/p>\n\u003cp>I didn’t even know that Leo had dropped a \u003ca href=\"https://www.youtube.com/watch?v=Fzd-8gmWz2w\" target=\"_blank\" rel=\"noopener noreferrer\">new video for his latest song “Back”\u003c/a> just a few days ago. A song Leo says directly correlates to the question he posed to President Obama.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fzd-8gmWz2w\u003c/p>\n\u003cp>“I wanna see what the future holds / for a brother like me, with the truth in his soul,” he raps. Overall, he said, the song is about “how I’m doing community organizing and how I’m shut out of certain spaces because of my tenacity, and how I may intimidate people.”\u003c/p>\n\u003cp>I’ve seen Leo’s fiery spirit firsthand. I’ve also seen how it can get things done. Case in point: when he and a number of other artists in the \u003ca href=\"https://www.determinationmedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Mens Group\u003c/a> dropped “\u003ca href=\"https://vimeo.com/235669867\" target=\"_blank\" rel=\"noopener noreferrer\">Free Young Baby Huey\u003c/a>.” The song raised awareness for Dajon Ford, then being \u003ca href=\"https://www.eastbaytimes.com/2017/08/18/former-oakland-football-star-charged-as-an-adult-in-juvenile-armed-robbery-case-to-be-released/\" target=\"_blank\" rel=\"noopener noreferrer\">held in Santa Rita Jail for nearly four years without trial\u003c/a> for charges related to a robbery. Since he’d been charged as an adult for a crime committed as a juvenile, the implementation of Prop. 57 allowed Ford, Leo’s childhood friend, to be released.\u003c/p>\n\u003cp>In that music video, playing the role of a reporter is Nicole Lee, the executive director of the Urban Peace Movement. She was also in the building for Leo and Obama’s interaction.\u003c/p>\n\u003cp>“I’m really proud of him,” Lee said, talking about Leo. “This conference is amazing, and it’s a national conference that’s in Oakland, and there’s a lot of voices here from all over the country. And on one hand, that’s cool, and on the other hand, we want to make sure the voices of the people in our city of Oakland are represented. And I think Leo was the perfect person to rep the town and the East Bay.”\u003c/p>\n\u003cp>I’d agree. And I’d also say that Leo already knows what role music has in working toward social change; he’s lived it. And after seeing him press Obama on the idea, and learning more about his story, I’d not only listen to his music—he’d have my vote.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "When Leo Mercer, 27, sat onstage next to Obama last week in Oakland, there was no way the former president could have known his whole story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen former President Barack Obama came to Oakland last week for the national My Brothers Keeper convention, he had no idea he’d be sitting next to Leo Mercer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, he knew he’d be talking to Steph Curry during the town hall discussion at Oakland’s Scottish Rite Temple, where attendees from across all states would be in the house. And I’d imagine Obama was told he’d be asked questions by a few of the young men who sat around him on stage during the conversation.\u003c/p>\n\u003cp>But then there was Leo Mercer, sitting just a few feet away from him.\u003c/p>\n\u003cp>Leo wore a blazer over his hoodie, his long locs done up as if they were defying gravity. I watched him go from wiggling in his seat as the microphone was passed his way to standing firm and delivering a sincere two-part question to the former leader of the free world.\u003c/p>\n\u003cp>“What role does music have in your life?” asked Leo, a 27-year-old Oakland native. “And what role can music have when it comes to liberation, policy change, social change and all those other items?”\u003c/p>\n\u003cp>“Are you a musician?” Obama said, answering Leo’s question with a question. “Yeah,” Leo replied. “I’ll have to listen to some of your tracks now,” Obama said, before going into riff about the discipline it takes to become a professional musician.\u003c/p>\n\u003cp>If you’re like most people, you’d be thrilled to hear Obama say he’ll check out your music. But I couldn’t help but notice that after his pivot, Obama didn’t really answer Leo’s question at all.\u003c/p>\n\u003cfigure id=\"attachment_13851827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg\" alt=\"Leo Mercer at Lake Merritt in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leo Mercer at Lake Merritt in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple days ago, I called Leo to chop it up about his experience. Just as I figured, it was business as usual on a Monday morning. He was on BART, headed to a healing circle with the organization he works for, Urban Peace Movement, taking time to honor the lives of those who had recently passed.\u003c/p>\n\u003cp>I could hear the train doors open and close in the background as we talked about how it felt to be on that stage, sitting a church aisle’s distance from the first African-American President this country has seen. When he asked Obama about music, Leo said, he noticed the same thing I’d noticed.\u003c/p>\n\u003cp>“He didn’t answer the part about what role music can play in terms of social movements and liberation,” said Leo. “He answered the first part, ‘What role does music play in your life?’ So, that was cool—but it would’ve been dope if answered the other part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leo went on to talk about another music reference Obama made while on stage, one that the media jumped on, when he implied that confident young men don’t need to act like rappers in music videos with gold jewelry and “eight women around you twerking.”\u003c/p>\n\u003cp>“I just saw this article in the \u003cem>New York Times\u003c/em> that was \u003ca href=\"https://www.nytimes.com/2019/02/23/opinion/my-brothers-keeper-obama.html\" target=\"_blank\" rel=\"noopener noreferrer\">kind of shitting on us\u003c/a>. Basically saying Obama was scolding us. I disagree with that… talking about Obama was scolding us, talking about we don’t need to be wearing big chains,” said Leo. “They were basically misinterpreting how Obama was trying to get to us. And, to be honest, he was just keeping it real with us.”\u003c/p>\n\u003cp>Leo noted that the whole conference was about supporting young men—and even if Obama’s “scolding” didn’t come off as supportive to some, Leo understood the intention behind the statement. He understood how that tied into the overall theme of the conference. Hell, that understanding of confidence is probably why he landed in the seat he was in.\u003c/p>\n\u003cp>He told me he got turned down twice before his request to attend was accepted, once through an Instagram competition and again when he applied through Urban Peace Movement. He finally got the green light through the Urban Strategies Council. And when he walked in the door of that conference last week, he says he walked in there trying to gloat.\u003c/p>\n\u003cp>“Ya’ll not about to just have this conference out here and exclude the Oakland cats—the authentic Oakland cats!” said Leo.\u003c/p>\n\u003cfigure id=\"attachment_13851822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg\" alt=\"Former president Barack Obama and the Warriors' Stephen Curry at the My Brither's Keeper conference in Oakland, Feb. 19, 2019.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former president Barack Obama and the Warriors’ Stephen Curry at the My Brother’s Keeper conference in Oakland, Feb. 19, 2019. Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s far as being on stage with Obama, Leo, a performer in his own right, says he had some butterflies.\u003c/p>\n\u003cp>“I was nervous, but I was nervous in a way that was like, this is the uncle I ain’t seen in a minute,” said Leo, with a laugh. “I was nervous, but not nervous enough to be shaking and shit. I felt like talking to him, it was just like talking to Prince.”\u003c/p>\n\u003cp>Leo wasn’t talking about the Prince of \u003cem>Purple Rain\u003c/em>. Dr. Prince White was one of Leo’s mentors; he was also a friend of mine. Prince \u003ca href=\"https://oaklandnorth.net/2018/09/04/remembering-the-social-justice-advocate-dr-prince-white/\" target=\"_blank\" rel=\"noopener noreferrer\">passed last August\u003c/a>. He’s one of the people Leo was headed to honor during the healing circle.\u003c/p>\n\u003cp>Before he passed, Dr. Prince White did all he could to push Leo into political arenas. About two years ago, Prince pulled strings and got Leo to \u003ca href=\"https://www.youtube.com/watch?v=pf7PAlJm2x0\" target=\"_blank\" rel=\"noopener noreferrer\">perform a spoken word piece\u003c/a> in front of current State Superintendent of Schools Tony Thurmond, Assembly member Rob Bonta, and Senator Nancy Skinner.\u003c/p>\n\u003cp>I took photos at that event. That’s about the time I took note of Leo’s potential. But I didn’t know too much of Leo’s backstory until we talked this week.\u003c/p>\n\u003cp>I didn’t know his father was killed in West Oakland’s Lower Bottoms neighborhood in 1993, while Leo’s mother was pregnant with his sister.\u003c/p>\n\u003cp>I didn’t know Leo and his family spent time homeless after losing their house in the Bushrod neighborhood, during the first wave of what we’ve come to realize is a massive overhaul of this town we call home.\u003c/p>\n\u003cp>I didn’t even know that Leo had dropped a \u003ca href=\"https://www.youtube.com/watch?v=Fzd-8gmWz2w\" target=\"_blank\" rel=\"noopener noreferrer\">new video for his latest song “Back”\u003c/a> just a few days ago. A song Leo says directly correlates to the question he posed to President Obama.\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/Fzd-8gmWz2w'\n title='//www.youtube.com/embed/Fzd-8gmWz2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I wanna see what the future holds / for a brother like me, with the truth in his soul,” he raps. Overall, he said, the song is about “how I’m doing community organizing and how I’m shut out of certain spaces because of my tenacity, and how I may intimidate people.”\u003c/p>\n\u003cp>I’ve seen Leo’s fiery spirit firsthand. I’ve also seen how it can get things done. Case in point: when he and a number of other artists in the \u003ca href=\"https://www.determinationmedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Mens Group\u003c/a> dropped “\u003ca href=\"https://vimeo.com/235669867\" target=\"_blank\" rel=\"noopener noreferrer\">Free Young Baby Huey\u003c/a>.” The song raised awareness for Dajon Ford, then being \u003ca href=\"https://www.eastbaytimes.com/2017/08/18/former-oakland-football-star-charged-as-an-adult-in-juvenile-armed-robbery-case-to-be-released/\" target=\"_blank\" rel=\"noopener noreferrer\">held in Santa Rita Jail for nearly four years without trial\u003c/a> for charges related to a robbery. Since he’d been charged as an adult for a crime committed as a juvenile, the implementation of Prop. 57 allowed Ford, Leo’s childhood friend, to be released.\u003c/p>\n\u003cp>In that music video, playing the role of a reporter is Nicole Lee, the executive director of the Urban Peace Movement. She was also in the building for Leo and Obama’s interaction.\u003c/p>\n\u003cp>“I’m really proud of him,” Lee said, talking about Leo. “This conference is amazing, and it’s a national conference that’s in Oakland, and there’s a lot of voices here from all over the country. And on one hand, that’s cool, and on the other hand, we want to make sure the voices of the people in our city of Oakland are represented. And I think Leo was the perfect person to rep the town and the East Bay.”\u003c/p>\n\u003cp>I’d agree. And I’d also say that Leo already knows what role music has in working toward social change; he’s lived it. And after seeing him press Obama on the idea, and learning more about his story, I’d not only listen to his music—he’d have my vote.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland creative collective \u003ca href=\"http://thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">the House of Malico\u003c/a>—helmed by rapper and filmmaker Queens D.Light (a.k.a. Charmaine Davis) and photographer Sasha Kelley—puts on events that don’t fit neatly into one category. Once you arrive, feel the sense of community and witness the joyous creative expressions of artists, wellness practitioners and activists, it all makes sense.\u003c/p>\n\u003cp>That goes for the House of Malico’s \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">Alignment Festival\u003c/a>, a celebration of Women’s Month kicking off on March 1. The event features 30 days of programming, including an art exhibit at Qulture Collective, a potluck at Betti Ono Gallery, a creativity-as-healing workshop led by singer Emily McLean and a writing workshop for writers of color with Shah Noor Hussein and Fatima Nasyr. [contextly_sidebar id=”Totg9tbCjJHrAZ2E8Qmt182pUuwM3wDO”]\u003c/p>\n\u003cp>The centerpiece of the Alignment Festival, which centers women and LGBTQ+ people of color, is Twerk 4 Mother Earth on March 16, an annual House of Malico dance party that invites event-goers to let loose and shake it off in a safe space. The goal, Queens D.Light and Sasha Kelley told me ahead of the \u003ca href=\"https://www.eastbayexpress.com/oakland/shake-it-without-shame-at-twerk-4-mother-earth/Content?oid=4940383\" target=\"_blank\" rel=\"noopener\">first T4ME in 2016\u003c/a>, is to promote a consent-based culture of healing through music and dance. [contextly_sidebar id=”X7acCGHVZnQA18tXs83ZP97jpKNELWD1″]\u003c/p>\n\u003cp>“This concept of dance reaffirming your life and being a form of replenishment is something that’s not new,” Queens D. Light said at the time. “It’s something that’s deeply rooted into African culture.”\u003c/p>\n\u003cp>\u003cem>Details on the House of Malico’s Alignment Festival can be found \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/dcTq6gxcLT4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland creative collective \u003ca href=\"http://thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">the House of Malico\u003c/a>—helmed by rapper and filmmaker Queens D.Light (a.k.a. Charmaine Davis) and photographer Sasha Kelley—puts on events that don’t fit neatly into one category. Once you arrive, feel the sense of community and witness the joyous creative expressions of artists, wellness practitioners and activists, it all makes sense.\u003c/p>\n\u003cp>That goes for the House of Malico’s \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">Alignment Festival\u003c/a>, a celebration of Women’s Month kicking off on March 1. The event features 30 days of programming, including an art exhibit at Qulture Collective, a potluck at Betti Ono Gallery, a creativity-as-healing workshop led by singer Emily McLean and a writing workshop for writers of color with Shah Noor Hussein and Fatima Nasyr. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The centerpiece of the Alignment Festival, which centers women and LGBTQ+ people of color, is Twerk 4 Mother Earth on March 16, an annual House of Malico dance party that invites event-goers to let loose and shake it off in a safe space. The goal, Queens D.Light and Sasha Kelley told me ahead of the \u003ca href=\"https://www.eastbayexpress.com/oakland/shake-it-without-shame-at-twerk-4-mother-earth/Content?oid=4940383\" target=\"_blank\" rel=\"noopener\">first T4ME in 2016\u003c/a>, is to promote a consent-based culture of healing through music and dance. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This concept of dance reaffirming your life and being a form of replenishment is something that’s not new,” Queens D. Light said at the time. “It’s something that’s deeply rooted into African culture.”\u003c/p>\n\u003cp>\u003cem>Details on the House of Malico’s Alignment Festival can be found \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Longtime Guerneville residents have been through this before. As the Russian River floods the small west Sonoma County town this week, retold are the stories from 1998, or 1997—or the highest water level of all, the \u003ca href=\"https://www.bohemian.com/northbay/longtime-locals-remember-it/Content?oid=2183935\" rel=\"noopener noreferrer\" target=\"_blank\">Great Valentine’s Day Flood of 1986\u003c/a>, which submerged the town entirely.\u003c/p>\n\u003cp>This week’s Russian River flooding inspired me to dig up an old 45 rpm record, made in 1985, a local effort sold at mom-and-pop shops in Guerneville:\u003c/p>\n\u003cp>https://youtu.be/g53Ckks4ocM\u003c/p>\n\u003cp>Titled “Russian River Flow,” the slow, sentimental song romantically commemorates the Russian River’s beauty, its gentle breeze, and… wait, what? The \u003cem>regular flooding of the town\u003c/em>?!\u003c/p>\n\u003cblockquote>\u003cp>Then its magic rise\u003cbr>\ntakes all our love by surprise\u003cbr>\nwater so clear and so true\u003cbr>\nyou have taken our love with you\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>With its rumble and high waters flowing\u003cbr>\nand its loved ones with tears flowing too\u003cbr>\nas it flows with great force and destruction\u003cbr>\nbut we know it will be over soon\u003c/p>\u003c/blockquote>\n\u003cp>[contextly_sidebar id=”kWdCE2OgZM9D2FafIx3R9UzUOUpE9FBf”]\u003c/p>\n\u003cp>The songwriter of “Russian River Flow” was \u003ca href=\"https://bohemian.com/the-guerneville-flood-project-dominic-raitano-1/\" rel=\"noopener noreferrer\" target=\"_blank\">Dominic Raitano\u003c/a>, a community icon who founded the Safeway Flea Market. Raitano died in 2007, so we can’t ask him exactly why he wrote such a sweet, sentimental ode to the Russian River submerging the town and washing away people’s houses, cars and possessions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But talk to longtime locals, and you’ll learn it’s part of river life. While interviewing \u003ca href=\"https://bohemian.com/?s=guerneville+flood+project\" rel=\"noopener noreferrer\" target=\"_blank\">those who lived through the 1986 flood\u003c/a> for a feature story on its 25-year anniversary, I found people had a calm, almost religious acceptance of flooding as a local ritual.\u003c/p>\n\u003cp>Fred Von Renner, who spent that week in February of 1986 rescuing senior citizens on his backhoe, and whose parents owned Buck’s Restuarant, \u003ca href=\"https://www.bohemian.com/northbay/longtime-locals-remember-it/Content?oid=2183935\" rel=\"noopener noreferrer\" target=\"_blank\">told me\u003c/a> that “We would typically move our furniture up, get hoses out as soon as the waters receded and wash everything out. We looked at it as spring cleaning. It was just a way of life on the river.”\u003c/p>\n\u003cp>It also inspired Dominic Raitano’s odd little song, which hasn’t been on the internet until now. Enjoy.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Longtime Guerneville residents have been through this before. As the Russian River floods the small west Sonoma County town this week, retold are the stories from 1998, or 1997—or the highest water level of all, the \u003ca href=\"https://www.bohemian.com/northbay/longtime-locals-remember-it/Content?oid=2183935\" rel=\"noopener noreferrer\" target=\"_blank\">Great Valentine’s Day Flood of 1986\u003c/a>, which submerged the town entirely.\u003c/p>\n\u003cp>This week’s Russian River flooding inspired me to dig up an old 45 rpm record, made in 1985, a local effort sold at mom-and-pop shops in Guerneville:\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/g53Ckks4ocM'\n title='//www.youtube.com/embed/g53Ckks4ocM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Titled “Russian River Flow,” the slow, sentimental song romantically commemorates the Russian River’s beauty, its gentle breeze, and… wait, what? The \u003cem>regular flooding of the town\u003c/em>?!\u003c/p>\n\u003cblockquote>\u003cp>Then its magic rise\u003cbr>\ntakes all our love by surprise\u003cbr>\nwater so clear and so true\u003cbr>\nyou have taken our love with you\u003c/p>\u003c/blockquote>\n\u003cblockquote>\u003cp>With its rumble and high waters flowing\u003cbr>\nand its loved ones with tears flowing too\u003cbr>\nas it flows with great force and destruction\u003cbr>\nbut we know it will be over soon\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The songwriter of “Russian River Flow” was \u003ca href=\"https://bohemian.com/the-guerneville-flood-project-dominic-raitano-1/\" rel=\"noopener noreferrer\" target=\"_blank\">Dominic Raitano\u003c/a>, a community icon who founded the Safeway Flea Market. Raitano died in 2007, so we can’t ask him exactly why he wrote such a sweet, sentimental ode to the Russian River submerging the town and washing away people’s houses, cars and possessions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But talk to longtime locals, and you’ll learn it’s part of river life. While interviewing \u003ca href=\"https://bohemian.com/?s=guerneville+flood+project\" rel=\"noopener noreferrer\" target=\"_blank\">those who lived through the 1986 flood\u003c/a> for a feature story on its 25-year anniversary, I found people had a calm, almost religious acceptance of flooding as a local ritual.\u003c/p>\n\u003cp>Fred Von Renner, who spent that week in February of 1986 rescuing senior citizens on his backhoe, and whose parents owned Buck’s Restuarant, \u003ca href=\"https://www.bohemian.com/northbay/longtime-locals-remember-it/Content?oid=2183935\" rel=\"noopener noreferrer\" target=\"_blank\">told me\u003c/a> that “We would typically move our furniture up, get hoses out as soon as the waters receded and wash everything out. We looked at it as spring cleaning. It was just a way of life on the river.”\u003c/p>\n\u003cp>It also inspired Dominic Raitano’s odd little song, which hasn’t been on the internet until now. Enjoy.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Boots Riley was the award-winning director of \u003cem>Sorry to Bother You\u003c/em>, he was better known as an Oakland rapper and community organizer who led direct actions during the Occupy movement and spoke out against corporate greed and police brutality with his group, the Coup. Today, Riley took to the streets once again to lend his platform and support to the Oakland Unified School District \u003ca href=\"https://www.kqed.org/news/11727551/oakland-teachers-go-on-strike-in-fight-for-higher-pay-more-resources\" rel=\"noopener\" target=\"_blank\">teacher strike\u003c/a>, now in its fourth day as teachers lobby for a 12-percent wage increase over the span of three years. [aside postID=\"arts_13847704\"]\u003c/p>\n\u003cp>This afternoon, at a rally in front of Roots International Academy in East Oakland, Riley joined students, teachers and community activists to champion direct action and criticize privatization of public education—a contentious topic in the Bay Area as public schools lose funding to charters. Riley cheered on protesters, reminding them that they’re setting an example for students and teachers across the country and world. Read his full speech below. \u003c/p>\n\u003cfigure id=\"attachment_13851708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg\" alt=\"Boots Riley at the Oakland teachers' strike on Feb. 26, 2019.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13851708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1200x691.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley at the Oakland teachers’ strike on Feb. 26, 2019. \u003ccite>(East Bay Majority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>What’s up, thank y’all for fighting. My name is Boots Riley. I’m not gonna rap after that. But I will say in one of the Coup songs called “Strange Arithmetic,” there is a very simple but true lyric that says “If your school don’t teach you how to fight for what’s needed / They’re teaching you to go through life and get cheated.” And that’s what y’all are doing, teaching the students how to fight. You’re not just teaching them the facts of what happened: you’re teaching them to make something happen. And that’s very important because otherwise, all these little templates they get, they won’t know—when they get out in the real world—what to do with it, how to do anything but wish that things were different. \u003c/em>\u003c/p>\n\u003cp>\u003cem>And this is not wishing that things were different, because what y’all are doing is the real way that all the changes that we’ve seen throughout history have actually happened. They don’t come from hoping the right leader gets out there and gets into office, or the right superintendent. They come from the leaders and the elected officials and the superintendents being scared of y’all, being scared of y’all being able to just shut down the machine, shut it all down, and not to give in ’til you get what you want, right? \u003c/em> [aside postID=\"news_11727551\"]\u003c/p>\n\u003cp>\u003cem>And this right—it might seem that it’s right here, all these people right here, but there are people looking at it all over the world, trying to figure out what they should do in their life. They’re looking to Oakland teachers, they’re looking to L.A. teachers and they’re looking to y’all as an example—and you’re giving a great one. And obviously, this wouldn’t be a fight if they just gave in right away. That would be too easy. So y’all are in the thick of it, and I’m glad you’re staying in it because what happens here is going to have a lot to do with what people do all around the country and all around the world, and I thank you. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>I thank you for what you’re doing, because without y’all, they will privatize everything. They’ll privatize every single thing and you’ll have to have a credit card for each lesson you get. And what’s stopping that is not just that the people in charge have good hearts. A lot of them may have good hearts. But it doesn’t have to do with what’s in people’s hearts. It’s not a personality thing. It’s a function, it’s how this system works. And this system is about profit, as you probably all know. They will, little by little, take away all the funding that’s happening there. And no matter how great of a person gets there in office, they’re not going to be able to do all the things to fight for people that they say they’re gonna do if there’s not a real fight going on. So y’all shutting it down is how it happens, and so thank you.\u003c/em>\u003c/p>\n\u003cp>Scroll to 19:22 to hear the speech below. \u003c/p>\n\u003cp>https://twitter.com/OaklandEA/status/1100503319355801603\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This afternoon, at a rally in front of Roots International Academy in East Oakland, Riley joined students, teachers and community activists to champion direct action and criticize privatization of public education—a contentious topic in the Bay Area as public schools lose funding to charters. Riley cheered on protesters, reminding them that they’re setting an example for students and teachers across the country and world. Read his full speech below. \u003c/p>\n\u003cfigure id=\"attachment_13851708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg\" alt=\"Boots Riley at the Oakland teachers' strike on Feb. 26, 2019.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13851708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike-1200x691.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/boots-strike.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley at the Oakland teachers’ strike on Feb. 26, 2019. \u003ccite>(East Bay Majority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>What’s up, thank y’all for fighting. My name is Boots Riley. I’m not gonna rap after that. But I will say in one of the Coup songs called “Strange Arithmetic,” there is a very simple but true lyric that says “If your school don’t teach you how to fight for what’s needed / They’re teaching you to go through life and get cheated.” And that’s what y’all are doing, teaching the students how to fight. You’re not just teaching them the facts of what happened: you’re teaching them to make something happen. And that’s very important because otherwise, all these little templates they get, they won’t know—when they get out in the real world—what to do with it, how to do anything but wish that things were different. \u003c/em>\u003c/p>\n\u003cp>\u003cem>And this is not wishing that things were different, because what y’all are doing is the real way that all the changes that we’ve seen throughout history have actually happened. They don’t come from hoping the right leader gets out there and gets into office, or the right superintendent. They come from the leaders and the elected officials and the superintendents being scared of y’all, being scared of y’all being able to just shut down the machine, shut it all down, and not to give in ’til you get what you want, right? \u003c/em> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>And this right—it might seem that it’s right here, all these people right here, but there are people looking at it all over the world, trying to figure out what they should do in their life. They’re looking to Oakland teachers, they’re looking to L.A. teachers and they’re looking to y’all as an example—and you’re giving a great one. And obviously, this wouldn’t be a fight if they just gave in right away. That would be too easy. So y’all are in the thick of it, and I’m glad you’re staying in it because what happens here is going to have a lot to do with what people do all around the country and all around the world, and I thank you. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>I thank you for what you’re doing, because without y’all, they will privatize everything. They’ll privatize every single thing and you’ll have to have a credit card for each lesson you get. And what’s stopping that is not just that the people in charge have good hearts. A lot of them may have good hearts. But it doesn’t have to do with what’s in people’s hearts. It’s not a personality thing. It’s a function, it’s how this system works. And this system is about profit, as you probably all know. They will, little by little, take away all the funding that’s happening there. And no matter how great of a person gets there in office, they’re not going to be able to do all the things to fight for people that they say they’re gonna do if there’s not a real fight going on. So y’all shutting it down is how it happens, and so thank you.\u003c/em>\u003c/p>\n\u003cp>Scroll to 19:22 to hear the speech below. \u003c/p>\u003c/p>\u003c/div>",
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"title": "A New Spin on Irish Fiddling with Eileen Ivers",
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"content": "\u003cp>When you think of Irish fiddlers, creaky old men sawing away in the corner of musty old pubs come most readily to mind.\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://www.eileenivers.com\" target=\"_blank\" rel=\"noopener\">Eileen Ivers\u003c/a>.\u003c/p>\n\u003cp>It’s not for nothing \u003cem>The New York Times\u003c/em> dubbed the Grammy Award-winning, Irish-American, virtuoso fiddler “The Jimi Hendrix of the Violin”: She effortlessly careens between playing roots festivals, schools, theaters and symphony halls with a musical style that is at once intimate and panoramic. And Ivers’ collaborators over the years have been equally diverse, ranging from rock icon Patti Smith to classical violinist Nadja Salerno-Sonnenberg.\u003c/p>\n\u003cp>Ivers makes a pitstop at the Raven Performing Arts Theater in Healdsburg on Saturday, Mar. 16, as part of a national tour with the Celtic instrumental quartet \u003ca href=\"http://www.jigjam.ie/\" target=\"_blank\" rel=\"noopener\">JigJam\u003c/a>, a group in the newish genre of Irish-inflected bluegrass—or, “I-Grass.” Their only other California dates are in Davis (Mar. 17) and Chico (Mar. 18).\u003c/p>\n\u003cp>It’s likely the set will include music from Ivers’ latest album, \u003cem>Beyond the Bog Road\u003c/em>, which explores the considerable impact of Celtic sounds on North American musical styles like bluegrass, Americana and roots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eileen Ivers and JigJam play the Raven Performing Arts Theater in Healdsburg on Saturday, Mar. 16 at 8pm. \u003ca href=\"https://www.raventheater.org/event_calendar.php?p=5\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of Irish fiddlers, creaky old men sawing away in the corner of musty old pubs come most readily to mind.\u003c/p>\n\u003cp>Then there’s \u003ca href=\"http://www.eileenivers.com\" target=\"_blank\" rel=\"noopener\">Eileen Ivers\u003c/a>.\u003c/p>\n\u003cp>It’s not for nothing \u003cem>The New York Times\u003c/em> dubbed the Grammy Award-winning, Irish-American, virtuoso fiddler “The Jimi Hendrix of the Violin”: She effortlessly careens between playing roots festivals, schools, theaters and symphony halls with a musical style that is at once intimate and panoramic. And Ivers’ collaborators over the years have been equally diverse, ranging from rock icon Patti Smith to classical violinist Nadja Salerno-Sonnenberg.\u003c/p>\n\u003cp>Ivers makes a pitstop at the Raven Performing Arts Theater in Healdsburg on Saturday, Mar. 16, as part of a national tour with the Celtic instrumental quartet \u003ca href=\"http://www.jigjam.ie/\" target=\"_blank\" rel=\"noopener\">JigJam\u003c/a>, a group in the newish genre of Irish-inflected bluegrass—or, “I-Grass.” Their only other California dates are in Davis (Mar. 17) and Chico (Mar. 18).\u003c/p>\n\u003cp>It’s likely the set will include music from Ivers’ latest album, \u003cem>Beyond the Bog Road\u003c/em>, which explores the considerable impact of Celtic sounds on North American musical styles like bluegrass, Americana and roots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Saturu Ned claims he once changed Tupac Shakur’s diaper before going on stage.\u003c/p>\n\u003cp>Ned has a lot of stories from the early ’70s: his band, \u003ca href=\"http://www.itsabouttimebpp.com/our_stories/The_Lumpen/the_lumpen.html\">the Lumpen\u003c/a>, shared bills with Curtis Mayfield, Muhammad Ali and even the Grateful Dead. Mobs threatened them with violence during a performance in front of the New Haven, Connecticut jail where they played in support of an incarcerated Bobby Seale. Popular R&B acts of the time like the Dells and the Stylistics were fans of the Lumpen, and an industry bigshot wanted to give them a record deal.\u003c/p>\n\u003cp>But for Ned and his band mates—William Calhoun, Clark Bailey and Mark Torrance—the party came first. That party was the Black Panther Party, the revolutionary civil rights organization that required all of its members to participate in community service programs. Born James Mott, Ned joined the Panthers as a teenager. By 1970, he was working out of the Panthers’ Central Headquarters in West Oakland, helping get the Party newsletter into the hands of community members.\u003c/p>\n\u003cp>“I would sometimes be singing, in the front,” Ned recalls. “\u003ca href=\"https://www.amazon.com/Black-Panther-Revolutionary-Emory-Douglas/dp/0847829448\" target=\"_blank\" rel=\"noopener noreferrer\">Emory\u003c/a> [Douglas, the Panthers’ Minister of Culture] would come by. ‘Oh man, you got a nice voice.'”\u003c/p>\n\u003cp>Douglas told Ned he knew of a few other party members with good voices, and thought that combining R&B with urgent social commentary could help reach the masses and galvanize the faithful. Taking their name from \u003ca href=\"https://www.iep.utm.edu/fanon/\" target=\"_blank\" rel=\"noopener noreferrer\">Franz Fanon\u003c/a>‘s anti-imperialist text \u003cem>The Wretched of the Earth\u003c/em>, the Lumpen started rehearsing at the Panther HQ in West Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’d all collaborate on the lyrics, songs, concepts and choreography,” Ned recalls. They began playing local shows and were part of the arts and culture programming at the \u003ca href=\"http://www.wholeearth.com/issue/2003/article/317/son.of.man.temple\" target=\"_blank\" rel=\"noopener noreferrer\">Temple of the Son of Man\u003c/a>, a Panther-run non-denominational spiritual center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Then everything accelerated. Bobby got kidnapped!” Ned recalls, referring to Seale’s various legal troubles, including a contempt of court conviction and a subsequent arrest for allegedly ordering the murder of a Panther-turned-suspected informant (the charges were later dropped). As the Panthers rallied around Seale, party leadership told Ned, “We want you to create a song.”\u003c/p>\n\u003cp>In 1970, the Lumpen recorded two songs—”No More” and “Free Bobby Now”—which were pressed up as a 45 rpm record. They developed a stage show that incorporated original material, skits and versions of other artists’ songs with revolutionary lyrics. “\u003ca href=\"https://www.youtube.com/watch?v=eh9WayN7R-s\" target=\"_blank\" rel=\"noopener noreferrer\">Ol’ Man River\u003c/a>” became “Ol’ Pig Nixon.”\u003c/p>\n\u003cp>https://youtu.be/G2llXaUMMqc\u003c/p>\n\u003cp>One of the Lumpen’s career highlights came when journalist (and \u003ca href=\"https://www.kqed.org/forum/201211091030/belva-davis-signs-off-after-storied-career\" target=\"_blank\" rel=\"noopener noreferrer\">former KQED anchor\u003c/a>) Belva Davis arranged a performance at San Quentin with Curtis Mayfield and Muhammad Ali. The Lumpen performed their version of Mayfield’s “People Get Ready,” then segued to “Free Bobby Now” and “Ol’ Pig Nixon.” By the fourth song, “Revolution is the Only Solution,” prison officials began to take note of the lyrics: “A 45 will stop all jive / A 357 will send a pig to heaven / A 38 will…”\u003c/p>\n\u003cp>Ned recalls, “All of a sudden, the mics went dead. The guards had pulled the plug. They cut our mic and said, ‘You’re not gonna sing anymore, or we’re gonna end this concert and we’re gonna send the prisoners back.’ So Curtis came out, and Muhammad Ali was back there just busting up. ‘They didn’t let y’all sing, huh? Well, I guess I’m gonna have to get out there and tell the truth anyway.’ I never will forget that.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uVo29ejD7jA\u003c/p>\n\u003cp>Another highlight was an East Coast tour with Douglas, which included a contentious stop in New Haven, where Seale was being held. Matter-of-factly, Ned recounts confrontations with angry crowds: “They threatened us in New Haven, [but] we said, ‘Oh, well. We might not get another opportunity to consistently say this.'”\u003c/p>\n\u003cp>The Lumpen made a live recording from that tour, but the master tapes somehow disappeared and the album was never released.\u003c/p>\n\u003cp>In 2013, \u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, host of KPFA’s \u003cem>\u003ca href=\"https://kpfa.org/program/the-history-of-funk/\" target=\"_blank\" rel=\"noopener noreferrer\">History of Funk\u003c/a> \u003c/em>show, wrote a book on the Lumpen called \u003cem>Party Music\u003c/em>. Vincent says he’s never heard the full album—which he calls a “unicorn”—but did transcribe the lyrics from eight songs he gleaned from a cassette copy while researching his book.\u003c/p>\n\u003cp>The Lumpen, he says, “represented the music, but they also represented the Black Panther Party at that time. … They represented a moment of truth where the music, the politics, the possibilities were all sort of reaching a peak at the same time.”\u003c/p>\n\u003cp>Vincent says the band existed in a musical context shaped by James Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=9bJA6W9CqvE\">Say It Loud (I’m Black and I’m Proud)\u003c/a>.” “That was the record that laid out this explicit discourse across the racial divide,” he explains. “The explicit use of race—all that sort of evolved from late ’69 into ’70. This new era of music was driven by a tantalizing mix of racial community and racial confrontation. The way the times were changing, the way people’s expectations were changing, somebody had to push that a little further.”\u003c/p>\n\u003cp>The Lumpen, Vincent argues, were unique. “They weren’t a group designed to perform for profit,” he says. “They were designed to perform for a specific political agenda that mirrored or reflected the Black Panther Party’s vision of social change.”\u003c/p>\n\u003cfigure id=\"attachment_13851564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg\" alt=\"Saturu Ned today. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saturu Ned today. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Vincent and Ned note that the radio stations of the time were afraid to give the Lumpen airplay despite their talent. Ned adds that Panther leadership had other priorities besides promoting a funk band. Although they played a few local shows in 1972, the group disbanded after its members were reassigned to other roles in the Panther organization.\u003c/p>\n\u003cp>With a tinge of regret, Ned remarks, “What [Panther leadership] didn’t understand at the time that we brought rehumanizing, opening up the doors for everyone to say, ‘I’m a revolutionary too.'”\u003c/p>\n\u003cp>Undoubtedly, the Lumpen’s legacy carried on through the sociopolitical commentary that \u003ca href=\"https://www.youtube.com/watch?v=qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener noreferrer\">permeated R&B and funk throughout the ’70s\u003c/a>—as well as the direct political speech of hip-hop groups such as the Coup, Public Enemy and dead prez. There have been inquiries, Ned says, from local artist Kev Choice and X Clan’s Brother J about collaborating on a reunion show—suggesting there may be another chapter in the Lumpen’s story.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Saturu Ned speaks at \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\">\u003cem>The Legacy: Black Arts, Black Panthers, and Hip-Hop\u003c/em>\u003c/a>, a\u003cem> panel discussion moderated by Eric Arnold on Feb. 27 at Oakstop. Details \u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For information about Saturu Ned’s clothing line, Black Panther Power, click \u003c/em>\u003ca href=\"https://blackpantherpower.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>here. \u003c/em>\u003c/a>\u003cem> \u003c/em>\u003c/p>\n\n",
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"title": "A Brief History of the Lumpen, the Black Panthers' Revolutionary Funk Band | KQED",
"description": "When the Black Panthers needed a funk band to help galvanize the masses, the Lumpen didn't miss a beat.",
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"headline": "A Brief History of the Lumpen, the Black Panthers' Revolutionary Funk Band",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturu Ned claims he once changed Tupac Shakur’s diaper before going on stage.\u003c/p>\n\u003cp>Ned has a lot of stories from the early ’70s: his band, \u003ca href=\"http://www.itsabouttimebpp.com/our_stories/The_Lumpen/the_lumpen.html\">the Lumpen\u003c/a>, shared bills with Curtis Mayfield, Muhammad Ali and even the Grateful Dead. Mobs threatened them with violence during a performance in front of the New Haven, Connecticut jail where they played in support of an incarcerated Bobby Seale. Popular R&B acts of the time like the Dells and the Stylistics were fans of the Lumpen, and an industry bigshot wanted to give them a record deal.\u003c/p>\n\u003cp>But for Ned and his band mates—William Calhoun, Clark Bailey and Mark Torrance—the party came first. That party was the Black Panther Party, the revolutionary civil rights organization that required all of its members to participate in community service programs. Born James Mott, Ned joined the Panthers as a teenager. By 1970, he was working out of the Panthers’ Central Headquarters in West Oakland, helping get the Party newsletter into the hands of community members.\u003c/p>\n\u003cp>“I would sometimes be singing, in the front,” Ned recalls. “\u003ca href=\"https://www.amazon.com/Black-Panther-Revolutionary-Emory-Douglas/dp/0847829448\" target=\"_blank\" rel=\"noopener noreferrer\">Emory\u003c/a> [Douglas, the Panthers’ Minister of Culture] would come by. ‘Oh man, you got a nice voice.'”\u003c/p>\n\u003cp>Douglas told Ned he knew of a few other party members with good voices, and thought that combining R&B with urgent social commentary could help reach the masses and galvanize the faithful. Taking their name from \u003ca href=\"https://www.iep.utm.edu/fanon/\" target=\"_blank\" rel=\"noopener noreferrer\">Franz Fanon\u003c/a>‘s anti-imperialist text \u003cem>The Wretched of the Earth\u003c/em>, the Lumpen started rehearsing at the Panther HQ in West Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13851562\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851562\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/lumpen_stage-800x523.jpg\" alt=\"The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/lumpen_stage-768x502.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lumpen performed between 1970 and 1972; afterwards, Black Panther Party leadership assigned its members to other roles within the organization. \u003ccite>(Courtesy of itsabouttime.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’d all collaborate on the lyrics, songs, concepts and choreography,” Ned recalls. They began playing local shows and were part of the arts and culture programming at the \u003ca href=\"http://www.wholeearth.com/issue/2003/article/317/son.of.man.temple\" target=\"_blank\" rel=\"noopener noreferrer\">Temple of the Son of Man\u003c/a>, a Panther-run non-denominational spiritual center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Then everything accelerated. Bobby got kidnapped!” Ned recalls, referring to Seale’s various legal troubles, including a contempt of court conviction and a subsequent arrest for allegedly ordering the murder of a Panther-turned-suspected informant (the charges were later dropped). As the Panthers rallied around Seale, party leadership told Ned, “We want you to create a song.”\u003c/p>\n\u003cp>In 1970, the Lumpen recorded two songs—”No More” and “Free Bobby Now”—which were pressed up as a 45 rpm record. They developed a stage show that incorporated original material, skits and versions of other artists’ songs with revolutionary lyrics. “\u003ca href=\"https://www.youtube.com/watch?v=eh9WayN7R-s\" target=\"_blank\" rel=\"noopener noreferrer\">Ol’ Man River\u003c/a>” became “Ol’ Pig Nixon.”\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/G2llXaUMMqc'\n title='//www.youtube.com/embed/G2llXaUMMqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the Lumpen’s career highlights came when journalist (and \u003ca href=\"https://www.kqed.org/forum/201211091030/belva-davis-signs-off-after-storied-career\" target=\"_blank\" rel=\"noopener noreferrer\">former KQED anchor\u003c/a>) Belva Davis arranged a performance at San Quentin with Curtis Mayfield and Muhammad Ali. The Lumpen performed their version of Mayfield’s “People Get Ready,” then segued to “Free Bobby Now” and “Ol’ Pig Nixon.” By the fourth song, “Revolution is the Only Solution,” prison officials began to take note of the lyrics: “A 45 will stop all jive / A 357 will send a pig to heaven / A 38 will…”\u003c/p>\n\u003cp>Ned recalls, “All of a sudden, the mics went dead. The guards had pulled the plug. They cut our mic and said, ‘You’re not gonna sing anymore, or we’re gonna end this concert and we’re gonna send the prisoners back.’ So Curtis came out, and Muhammad Ali was back there just busting up. ‘They didn’t let y’all sing, huh? Well, I guess I’m gonna have to get out there and tell the truth anyway.’ I never will forget that.”\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/uVo29ejD7jA'\n title='//www.youtube.com/embed/uVo29ejD7jA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another highlight was an East Coast tour with Douglas, which included a contentious stop in New Haven, where Seale was being held. Matter-of-factly, Ned recounts confrontations with angry crowds: “They threatened us in New Haven, [but] we said, ‘Oh, well. We might not get another opportunity to consistently say this.'”\u003c/p>\n\u003cp>The Lumpen made a live recording from that tour, but the master tapes somehow disappeared and the album was never released.\u003c/p>\n\u003cp>In 2013, \u003ca href=\"http://www.rickeyvincent.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rickey Vincent\u003c/a>, host of KPFA’s \u003cem>\u003ca href=\"https://kpfa.org/program/the-history-of-funk/\" target=\"_blank\" rel=\"noopener noreferrer\">History of Funk\u003c/a> \u003c/em>show, wrote a book on the Lumpen called \u003cem>Party Music\u003c/em>. Vincent says he’s never heard the full album—which he calls a “unicorn”—but did transcribe the lyrics from eight songs he gleaned from a cassette copy while researching his book.\u003c/p>\n\u003cp>The Lumpen, he says, “represented the music, but they also represented the Black Panther Party at that time. … They represented a moment of truth where the music, the politics, the possibilities were all sort of reaching a peak at the same time.”\u003c/p>\n\u003cp>Vincent says the band existed in a musical context shaped by James Brown’s “\u003ca href=\"https://www.youtube.com/watch?v=9bJA6W9CqvE\">Say It Loud (I’m Black and I’m Proud)\u003c/a>.” “That was the record that laid out this explicit discourse across the racial divide,” he explains. “The explicit use of race—all that sort of evolved from late ’69 into ’70. This new era of music was driven by a tantalizing mix of racial community and racial confrontation. The way the times were changing, the way people’s expectations were changing, somebody had to push that a little further.”\u003c/p>\n\u003cp>The Lumpen, Vincent argues, were unique. “They weren’t a group designed to perform for profit,” he says. “They were designed to perform for a specific political agenda that mirrored or reflected the Black Panther Party’s vision of social change.”\u003c/p>\n\u003cfigure id=\"attachment_13851564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851564\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg\" alt=\"Saturu Ned today. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Saturu-Ned.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saturu Ned today. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Vincent and Ned note that the radio stations of the time were afraid to give the Lumpen airplay despite their talent. Ned adds that Panther leadership had other priorities besides promoting a funk band. Although they played a few local shows in 1972, the group disbanded after its members were reassigned to other roles in the Panther organization.\u003c/p>\n\u003cp>With a tinge of regret, Ned remarks, “What [Panther leadership] didn’t understand at the time that we brought rehumanizing, opening up the doors for everyone to say, ‘I’m a revolutionary too.'”\u003c/p>\n\u003cp>Undoubtedly, the Lumpen’s legacy carried on through the sociopolitical commentary that \u003ca href=\"https://www.youtube.com/watch?v=qEwMaeN2x-c\" target=\"_blank\" rel=\"noopener noreferrer\">permeated R&B and funk throughout the ’70s\u003c/a>—as well as the direct political speech of hip-hop groups such as the Coup, Public Enemy and dead prez. There have been inquiries, Ned says, from local artist Kev Choice and X Clan’s Brother J about collaborating on a reunion show—suggesting there may be another chapter in the Lumpen’s story.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Saturu Ned speaks at \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\">\u003cem>The Legacy: Black Arts, Black Panthers, and Hip-Hop\u003c/em>\u003c/a>, a\u003cem> panel discussion moderated by Eric Arnold on Feb. 27 at Oakstop. Details \u003ca href=\"https://www.eventbrite.com/e/the-legacy-black-arts-black-panthers-and-hip-hop-tickets-55051125398\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For information about Saturu Ned’s clothing line, Black Panther Power, click \u003c/em>\u003ca href=\"https://blackpantherpower.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>here. \u003c/em>\u003c/a>\u003cem> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-okie-music-changed-californias-and-americas-musical-dna",
"title": "How ‘Okie’ Music Changed California's — and America’s — Musical DNA",
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"headTitle": "How ‘Okie’ Music Changed California’s — and America’s — Musical DNA | KQED",
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"content": "\u003cp>\u003cem>As part of the California Report Magazine’s look at how migration from Oklahoma changed California, host Sasha Khokha spoke with Robert Price, author of \u003ca href=\"https://heydaybooks.com/book/the-bakersfield-sound/\" rel=\"noopener\" target=\"_blank\">“The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music.”\u003c/a> He’s also a longtime columnist and the former executive editor at The Bakersfield Californian. Excerpts from the interview have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On whether the word “Okie” is a derogatory term:\u003c/strong>\u003c/p>\n\u003cp>At one point in time it was. But over time it became kind of a point of pride [a symbol of their attitude of survival] . Okies called themselves ‘Okies’ and they let everybody else call them Okies as well. Every once in a while you’ll still hear an old-timers say, “Hey that’s not the term we like to hear,” but it’s pretty well accepted now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jBeOddejiGw\u003c/p>\n\u003cp>\u003cstrong>On what defines the Bakersfield sound:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not so much a sound as it is a time and place. It was just a unique period of time between about 1949 and 1970 when Bakersfield was the hot spot, the center of the country music universe. The two main practitioners are Buck Owens and Merle Haggard, and their sounds are not really very much alike. Buck has a rockabilly thing going on, will a little bit of norteño thrown in there. Merle Haggard had more of a western swing and a jazz sensibility. The one thing they all had in common besides that locale was the instrument of choice, the Fender Telecaster. It cut through the bass line, cut through the drums and reverberated off the aluminum siding.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fbEstJ98TcM\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Merle Haggard’s lyrics about working people:\u003c/strong>\u003c/p>\n\u003cp>He was a blue collar guy. His dad worked for the railroad, and he himself had a lot of manual labor jobs. His audiences were people that worked in the fields picking cotton and picking fruit. He grew up in a converted boxcar in Oildale, adjacent to the Kern River Oil Field, which is one of the biggest oil fields in the lower 48 states. Between oil and agriculture, these were working class people.\u003c/p>\n\u003cfigure id=\"attachment_11728205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11728205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg\" alt=\"\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Some early Capitol Records marketing for Merle Haggard \u003ccite>(Courtesy of Robert Price Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the ways “Okies” changed California culture:\u003c/strong>\u003c/p>\n\u003cp>The Okies that came west in the mid ’30s through the early ’50s brought with them not just music, but they brought a distinct way of talking. They brought a religious sensibility that hadn’t been on the West Coast before, more of a “praise the Lord out loud” kind of religion. They brought some conservative politics with them. It completely changed California, certainly Central California.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=68cbjlLFl4U&start_radio=1&list=RD68cbjlLFl4U&t=8\u003c/p>\n\u003cp>[Merle Haggard’s] “Okie from Muskogee” really encapsulates those differences. The references to the shaggy long hair in San Francisco, the marijuana smoking. The message was “we’re not like those people.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Buck Owens’ “Rags to Rhinestone” story – and how he rebelled against Nashville:\u003c/strong>\u003c/p>\n\u003cp>Buck Owens early on told himself “I am never going to be poor.” And he lived his life trying to be as unlike his childhood as he possibly could be in terms of his financial circumstances.\u003c/p>\n\u003cfigure id=\"attachment_11728206\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728206\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-952x1200.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visiting performers Tommy Collins and Buck Owens are shown with Minnie Pearl in this photograph taken in May 1954. These photos are part of a 60-photo exhibition coming to the Kern County Museum at the end of February. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Country music out of Nashville became a lot more orchestrated, with strings and beautiful backing harmonies. In Bakersfield, Buck Owens led a sort of rebellion. Rockabilly and rock ‘n’ roll became more of an influence. And as it turned out the American listening public really liked his sound. And that’s kind of how Bakersfield stole that momentum away from Nashville and kind of became the center of the country music universe for a half a generation or so.\u003c/p>\n\u003cfigure id=\"attachment_11728207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728207\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg\" alt=\"\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwight Yoakam and Buck Owens sing “Streets of Bakersfield” in 1988. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On women in the “Bakersfield Sound” scene:\u003c/strong>\u003c/p>\n\u003cp>Jean Shepherd recorded the first hit associated with the Bakersfield sound: a duet with Frank Husky called “Dear John.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qx2LK8lx7Zo\u003c/p>\n\u003cp>Jean Shepherd was from Visalia, but she kind of gravitated down to Bakersfield, and then went to Nashville. She lived out a very successful career in Nashville as a member of the Grand Ole Opry.\u003c/p>\n\u003cfigure id=\"attachment_11728204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728204\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1200x911.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Wills, Billy Mize, Jean Shepard, Johnny Caviello (drummer for Bob Wills), and Bill Woods. \u003ccite>(Courtesy of Kern County Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how the Bakersfield Sound changed American music:\u003c/strong>\u003c/p>\n\u003cp>You know you hear so many artists today, country music artists, and rock ‘n’ roll artists, who point to people like Buck Owens and Merle Haggard and the music of the Bakersfield sound as being so influential in their careers. They were both great songwriters in very different sorts of ways, and I think that songwriting sensibility kind of seeped into the minds of a lot of songwriters who came later. It kind of got into the national DNA.\u003c/p>\n\u003cp>\u003cstrong>On what we can learn from the “Okie” experience in California:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of America is a story of migration. The migration of the Okies is a huge part of American history. People move and they bring their influences to the places they go, and they change those places. The Okies changed California tremendously. Migration is an ongoing thing. The movement of people changes our history.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of the California Report Magazine’s look at how migration from Oklahoma changed California, host Sasha Khokha spoke with Robert Price, author of \u003ca href=\"https://heydaybooks.com/book/the-bakersfield-sound/\" rel=\"noopener\" target=\"_blank\">“The Bakersfield Sound: How a Generation of Displaced Okies Revolutionized American Music.”\u003c/a> He’s also a longtime columnist and the former executive editor at The Bakersfield Californian. Excerpts from the interview have been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On whether the word “Okie” is a derogatory term:\u003c/strong>\u003c/p>\n\u003cp>At one point in time it was. But over time it became kind of a point of pride [a symbol of their attitude of survival] . Okies called themselves ‘Okies’ and they let everybody else call them Okies as well. Every once in a while you’ll still hear an old-timers say, “Hey that’s not the term we like to hear,” but it’s pretty well accepted now.\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/jBeOddejiGw'\n title='//www.youtube.com/embed/jBeOddejiGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On what defines the Bakersfield sound:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not so much a sound as it is a time and place. It was just a unique period of time between about 1949 and 1970 when Bakersfield was the hot spot, the center of the country music universe. The two main practitioners are Buck Owens and Merle Haggard, and their sounds are not really very much alike. Buck has a rockabilly thing going on, will a little bit of norteño thrown in there. Merle Haggard had more of a western swing and a jazz sensibility. The one thing they all had in common besides that locale was the instrument of choice, the Fender Telecaster. It cut through the bass line, cut through the drums and reverberated off the aluminum siding.\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/fbEstJ98TcM'\n title='//www.youtube.com/embed/fbEstJ98TcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Merle Haggard’s lyrics about working people:\u003c/strong>\u003c/p>\n\u003cp>He was a blue collar guy. His dad worked for the railroad, and he himself had a lot of manual labor jobs. His audiences were people that worked in the fields picking cotton and picking fruit. He grew up in a converted boxcar in Oildale, adjacent to the Kern River Oil Field, which is one of the biggest oil fields in the lower 48 states. Between oil and agriculture, these were working class people.\u003c/p>\n\u003cfigure id=\"attachment_11728205\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11728205\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg\" alt=\"\" width=\"1920\" height=\"1261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35392_18MerlePostcard-qut-1200x788.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Some early Capitol Records marketing for Merle Haggard \u003ccite>(Courtesy of Robert Price Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On the ways “Okies” changed California culture:\u003c/strong>\u003c/p>\n\u003cp>The Okies that came west in the mid ’30s through the early ’50s brought with them not just music, but they brought a distinct way of talking. They brought a religious sensibility that hadn’t been on the West Coast before, more of a “praise the Lord out loud” kind of religion. They brought some conservative politics with them. It completely changed California, certainly Central California.\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/68cbjlLFl4U'\n title='//www.youtube.com/embed/68cbjlLFl4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>[Merle Haggard’s] “Okie from Muskogee” really encapsulates those differences. The references to the shaggy long hair in San Francisco, the marijuana smoking. The message was “we’re not like those people.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003cstrong>On Buck Owens’ “Rags to Rhinestone” story – and how he rebelled against Nashville:\u003c/strong>\u003c/p>\n\u003cp>Buck Owens early on told himself “I am never going to be poor.” And he lived his life trying to be as unlike his childhood as he possibly could be in terms of his financial circumstances.\u003c/p>\n\u003cfigure id=\"attachment_11728206\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728206\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg\" alt=\"\" width=\"800\" height=\"1008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-800x1008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-1020x1286.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut-952x1200.jpg 952w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35393_32MinnieBuck-qut.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visiting performers Tommy Collins and Buck Owens are shown with Minnie Pearl in this photograph taken in May 1954. These photos are part of a 60-photo exhibition coming to the Kern County Museum at the end of February. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Country music out of Nashville became a lot more orchestrated, with strings and beautiful backing harmonies. In Bakersfield, Buck Owens led a sort of rebellion. Rockabilly and rock ‘n’ roll became more of an influence. And as it turned out the American listening public really liked his sound. And that’s kind of how Bakersfield stole that momentum away from Nashville and kind of became the center of the country music universe for a half a generation or so.\u003c/p>\n\u003cfigure id=\"attachment_11728207\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728207\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg\" alt=\"\" width=\"800\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-800x634.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1020x809.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut-1200x951.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35394_36BuckDwiFair-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwight Yoakam and Buck Owens sing “Streets of Bakersfield” in 1988. \u003ccite>(Courtesy of Buck Owens Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On women in the “Bakersfield Sound” scene:\u003c/strong>\u003c/p>\n\u003cp>Jean Shepherd recorded the first hit associated with the Bakersfield sound: a duet with Frank Husky called “Dear John.”\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/Qx2LK8lx7Zo'\n title='//www.youtube.com/embed/Qx2LK8lx7Zo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jean Shepherd was from Visalia, but she kind of gravitated down to Bakersfield, and then went to Nashville. She lived out a very successful career in Nashville as a member of the Grand Ole Opry.\u003c/p>\n\u003cfigure id=\"attachment_11728204\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11728204\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut-1200x911.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/02/RS35391_05WillsShepard-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bob Wills, Billy Mize, Jean Shepard, Johnny Caviello (drummer for Bob Wills), and Bill Woods. \u003ccite>(Courtesy of Kern County Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how the Bakersfield Sound changed American music:\u003c/strong>\u003c/p>\n\u003cp>You know you hear so many artists today, country music artists, and rock ‘n’ roll artists, who point to people like Buck Owens and Merle Haggard and the music of the Bakersfield sound as being so influential in their careers. They were both great songwriters in very different sorts of ways, and I think that songwriting sensibility kind of seeped into the minds of a lot of songwriters who came later. It kind of got into the national DNA.\u003c/p>\n\u003cp>\u003cstrong>On what we can learn from the “Okie” experience in California:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The story of America is a story of migration. The migration of the Okies is a huge part of American history. People move and they bring their influences to the places they go, and they change those places. The Okies changed California tremendously. Migration is an ongoing thing. The movement of people changes our history.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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