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"content": "\u003cp>For anyone questioning whether the next generation will pick up the baton of quality hip-hop music — with clever lyrics, dope beats and fly music videos — look no further than East Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/?hl=en\" target=\"_blank\" rel=\"noopener\">Paris Nights\u003c/a>.\u003c/p>\n\u003cp>Nights, who’s scheduled to headline \u003ca href=\"https://yoshis.com/events/buy-tickets/daboydame-playtoomuch-presents-paris-nights-feat-nique/detail?fbclid=PAZXh0bgNhZW0CMTEAAaYhpM3JWBkeZlgXV1aHE-oYBETBVc6xUCKMS1PhfrmdOdkOTReIoAe27IY_aem_HXxpFDYZUMRe8Vf-66fYhg\" target=\"_blank\" rel=\"noopener\">at Yoshi’s in Oakland on Nov. 5\u003c/a>, is setting the internet ablaze with her original verses and short video renditions of classic R&B and hip-hop tracks.\u003c/p>\n\u003cp>In one video, she sits on a staircase as she drops bars over the beat to \u003ca href=\"https://www.youtube.com/watch?v=Ka5ZRdszKlo\" target=\"_blank\" rel=\"noopener\">Keith Sweat’s “Make It Last Forever.”\u003c/a> In another, she floats over the instrumental to \u003ca href=\"https://www.youtube.com/watch?v=6W60kx6VA0E\" target=\"_blank\" rel=\"noopener\">Lauryn Hill’s “Ex-Factor” \u003c/a>as she reads a book under a palm tree at Oakland’s Eastshore Park.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=uopc9JIbmSw\" target=\"_blank\" rel=\"noopener\">Nights’ version of D’Angelo’s “Lady”\u003c/a> features her dressed in her finest neo-soul-inspired earth tone turtleneck and hat, standing in a downtown Oakland BART station while spitting bars about how this guy needs to recognize that she’s the one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qok5Rcn4rq4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=Qok5Rcn4rq4\" target=\"_blank\" rel=\"noopener\">her version of Jay-Z’s “Excuse Me Miss,”\u003c/a> Nights brings us back to the turn of the millennium. Styled in an argyle sweater vest, glasses, box braids and skirt, she sits on bleachers at a park as she breaks a portable CD player out of her backpack. She then proceeds to spit lyrics about a lavish lifestyle over The Neptunes’ multi-platinum production.\u003c/p>\n\u003cp>Of all of the videos she’s posted so far, \u003ca href=\"https://www.youtube.com/watch?v=ZZiNf2OnfJE\" target=\"_blank\" rel=\"noopener\">Nights’ version of DMX’s “How’s It Going Down”\u003c/a> has garnered the most attention. With hundreds of thousands of views across multiple platforms, she clearly tapped into something that the people like.\u003c/p>\n\u003cp>“With the DMX freestyle,” says Nights during a recent call, “I kind of switched it up a little bit by incorporating more acting.” She says she was intentional about bringing more of “a cinematic feel” to the production.\u003c/p>\n\u003cp>The video opens with the instrumental thumping as the words “Oakland, CA 1998” appear on the screen. Nights, standing at a corner on the cusp of Oakland’s Chinatown, recites a verse full of clever cadences and nimble rhyme schemes. While the bars are one thing, the aesthetic of the video is where she wins: Donning big bamboo earrings and a pair of baggy jeans, she uses a pay phone to act as if the verse is a message to a man on the other end of the line. The music video is even shot with a darkened filter, creating moody lighting similar to that of the original video, directed by Hype Williams.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZZiNf2OnfJE\u003c/p>\n\u003cp>Nights was a baby when many of her reference tracks dropped, but through the guidance of her mother, she’s been set on the right path. And now with her own music, Nights is looking to be a continuation of that vibe.\u003c/p>\n\u003cp>“I just want to bring them back to a time that felt good for them,” Nights says, referring to folks who miss the music of the late ’90s and early ’00s. “Back when it wasn’t just about Instagram or social media in general, when it was just a fun time.”\u003c/p>\n\u003cp>A student of the game since she was a child, Nights looked up to \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">Nicki Minaj’s\u003c/a> music when she was in 5th grade . Aware of other women in the rap game — Lil Kim, Foxy Brown, Eve and others who predated Minaj — Nights fell in love with Nicki’s rhyme patterns and voice inflections.\u003c/p>\n\u003cp>In fact, Nights wrote her very first rap to the sound of “Dear Old Nicki,” off Minaj’s \u003cem>Pink Friday\u003c/em> album.\u003c/p>\n\u003cp>Now 26, Nights sees that by paying homage to the people who influenced her she can explore another layer of her own artistry. And the listeners appreciate her doing so. \u003cspan style=\"font-weight: 400\">“\u003c/span>I found a way to kind of grab the audience’s attention,” says Nights, “by showing them another piece of me.”\u003c/p>\n\u003cp>After dropping her 2022 solo album of all original music, titled \u003ca href=\"https://open.spotify.com/album/4KG4dClU4DmUtGr9cAzAHX\" target=\"_blank\" rel=\"noopener\">\u003cem>Thank Me Now\u003c/em>\u003c/a>, and putting out two mixtape projects in subsequent years (\u003ca href=\"https://open.spotify.com/album/1i8NsFPXIr4mJ1vljxFrJt?si=snY-8fg-RjS-MFdi4DdAvg\" target=\"_blank\" rel=\"noopener\">Full Package: Act I\u003c/a> in 2023 and \u003ca href=\"https://open.spotify.com/album/7b8f4dCFRTPXc0YL0zjuEn\" target=\"_blank\" rel=\"noopener\">Full Package: Act II\u003c/a> earlier this year), Nights is on the verge of dropping more tracks for her fans.\u003c/p>\n\u003cp>“We have another Full Package: Act III,” she says. “We don’t have a specific [release] date yet, but it’s done.\u003ci>“\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_PkmlAeS9g\u003c/p>\n\u003cp>As buzz around her name grows, Nights’ layers of talent continue to show. Earlier this year she performed her original song “\u003ca href=\"https://www.youtube.com/watch?v=Mh9yu9UV-5I\" target=\"_blank\" rel=\"noopener\">From, Your Daughter”\u003c/a> on the major music video platform On The Radar. A month later she was featured on the song and in the movie-like music video for DaBoyDame’s \u003ca href=\"https://www.youtube.com/watch?v=fl5KlkyCxts\" target=\"_blank\" rel=\"noopener\">“Grand Finale”\u003c/a> track, alongside E-40, Symba and Chippass.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13966594,arts_13953284,arts_13934715']\u003c/span>\u003c/span>A proud product of East Oakland and well connected to her Bay Area community, Nights isn’t hesitant to point out that her sound isn’t the norm for this region.\u003c/p>\n\u003cp>With a combination of a gravelly delivery, punchy lyrics and clever similes, mixed with fly fashion and fully fleshed out concepts for music videos, Nights says, “I’m showing them there’s different versions of an Oakland girl. We don’t just all sound the same.”\u003c/p>\n\u003cp>Very clear on how she’s moving as an artist, Nights adds, “I’m opening people’s ears, just showing people that you can be different.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Paris Nights will perform at Yoshi’s in Oakland on Nov. 5. For tickets and info, \u003ca href=\"https://yoshis.com/events/buy-tickets/daboydame-playtoomuch-presents-paris-nights-feat-nique/detail?fbclid=PAZXh0bgNhZW0CMTEAAaYhpM3JWBkeZlgXV1aHE-oYBETBVc6xUCKMS1PhfrmdOdkOTReIoAe27IY_aem_HXxpFDYZUMRe8Vf-66fYhg\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=Qok5Rcn4rq4\" target=\"_blank\" rel=\"noopener\">her version of Jay-Z’s “Excuse Me Miss,”\u003c/a> Nights brings us back to the turn of the millennium. Styled in an argyle sweater vest, glasses, box braids and skirt, she sits on bleachers at a park as she breaks a portable CD player out of her backpack. She then proceeds to spit lyrics about a lavish lifestyle over The Neptunes’ multi-platinum production.\u003c/p>\n\u003cp>Of all of the videos she’s posted so far, \u003ca href=\"https://www.youtube.com/watch?v=ZZiNf2OnfJE\" target=\"_blank\" rel=\"noopener\">Nights’ version of DMX’s “How’s It Going Down”\u003c/a> has garnered the most attention. With hundreds of thousands of views across multiple platforms, she clearly tapped into something that the people like.\u003c/p>\n\u003cp>“With the DMX freestyle,” says Nights during a recent call, “I kind of switched it up a little bit by incorporating more acting.” She says she was intentional about bringing more of “a cinematic feel” to the production.\u003c/p>\n\u003cp>The video opens with the instrumental thumping as the words “Oakland, CA 1998” appear on the screen. Nights, standing at a corner on the cusp of Oakland’s Chinatown, recites a verse full of clever cadences and nimble rhyme schemes. While the bars are one thing, the aesthetic of the video is where she wins: Donning big bamboo earrings and a pair of baggy jeans, she uses a pay phone to act as if the verse is a message to a man on the other end of the line. The music video is even shot with a darkened filter, creating moody lighting similar to that of the original video, directed by Hype Williams.\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/ZZiNf2OnfJE'\n title='//www.youtube.com/embed/ZZiNf2OnfJE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nights was a baby when many of her reference tracks dropped, but through the guidance of her mother, she’s been set on the right path. And now with her own music, Nights is looking to be a continuation of that vibe.\u003c/p>\n\u003cp>“I just want to bring them back to a time that felt good for them,” Nights says, referring to folks who miss the music of the late ’90s and early ’00s. “Back when it wasn’t just about Instagram or social media in general, when it was just a fun time.”\u003c/p>\n\u003cp>A student of the game since she was a child, Nights looked up to \u003ca href=\"https://www.kqed.org/arts/13953284/nicki-minaj-review-oakland-arena-pink-friday-2-tour\">Nicki Minaj’s\u003c/a> music when she was in 5th grade . Aware of other women in the rap game — Lil Kim, Foxy Brown, Eve and others who predated Minaj — Nights fell in love with Nicki’s rhyme patterns and voice inflections.\u003c/p>\n\u003cp>In fact, Nights wrote her very first rap to the sound of “Dear Old Nicki,” off Minaj’s \u003cem>Pink Friday\u003c/em> album.\u003c/p>\n\u003cp>Now 26, Nights sees that by paying homage to the people who influenced her she can explore another layer of her own artistry. And the listeners appreciate her doing so. \u003cspan style=\"font-weight: 400\">“\u003c/span>I found a way to kind of grab the audience’s attention,” says Nights, “by showing them another piece of me.”\u003c/p>\n\u003cp>After dropping her 2022 solo album of all original music, titled \u003ca href=\"https://open.spotify.com/album/4KG4dClU4DmUtGr9cAzAHX\" target=\"_blank\" rel=\"noopener\">\u003cem>Thank Me Now\u003c/em>\u003c/a>, and putting out two mixtape projects in subsequent years (\u003ca href=\"https://open.spotify.com/album/1i8NsFPXIr4mJ1vljxFrJt?si=snY-8fg-RjS-MFdi4DdAvg\" target=\"_blank\" rel=\"noopener\">Full Package: Act I\u003c/a> in 2023 and \u003ca href=\"https://open.spotify.com/album/7b8f4dCFRTPXc0YL0zjuEn\" target=\"_blank\" rel=\"noopener\">Full Package: Act II\u003c/a> earlier this year), Nights is on the verge of dropping more tracks for her fans.\u003c/p>\n\u003cp>“We have another Full Package: Act III,” she says. “We don’t have a specific [release] date yet, but it’s done.\u003ci>“\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u_PkmlAeS9g'\n title='//www.youtube.com/embed/u_PkmlAeS9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As buzz around her name grows, Nights’ layers of talent continue to show. Earlier this year she performed her original song “\u003ca href=\"https://www.youtube.com/watch?v=Mh9yu9UV-5I\" target=\"_blank\" rel=\"noopener\">From, Your Daughter”\u003c/a> on the major music video platform On The Radar. A month later she was featured on the song and in the movie-like music video for DaBoyDame’s \u003ca href=\"https://www.youtube.com/watch?v=fl5KlkyCxts\" target=\"_blank\" rel=\"noopener\">“Grand Finale”\u003c/a> track, alongside E-40, Symba and Chippass.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>A proud product of East Oakland and well connected to her Bay Area community, Nights isn’t hesitant to point out that her sound isn’t the norm for this region.\u003c/p>\n\u003cp>With a combination of a gravelly delivery, punchy lyrics and clever similes, mixed with fly fashion and fully fleshed out concepts for music videos, Nights says, “I’m showing them there’s different versions of an Oakland girl. We don’t just all sound the same.”\u003c/p>\n\u003cp>Very clear on how she’s moving as an artist, Nights adds, “I’m opening people’s ears, just showing people that you can be different.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Paris Nights will perform at Yoshi’s in Oakland on Nov. 5. For tickets and info, \u003ca href=\"https://yoshis.com/events/buy-tickets/daboydame-playtoomuch-presents-paris-nights-feat-nique/detail?fbclid=PAZXh0bgNhZW0CMTEAAaYhpM3JWBkeZlgXV1aHE-oYBETBVc6xUCKMS1PhfrmdOdkOTReIoAe27IY_aem_HXxpFDYZUMRe8Vf-66fYhg\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "chuck-prophet-and-his-cumbia-shoes-wake-the-dead",
"title": "Chuck Prophet’s Music Has Never Felt More Alive",
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"content": "\u003cp>For two weeks in March of 2022, \u003ca href=\"http://www.chuckprophet.com\">Chuck Prophet\u003c/a> didn’t know if he would live to see the end of the year.\u003c/p>\n\u003cp>Days earlier, the musician was gearing up for an international tour — one that had already been rescheduled three times due to COVID. He’d released a full-length in 2020, but hadn’t yet taken it on the road, and the acclaimed San Francisco rocker was excited to get out there.\u003c/p>\n\u003cp>Instead, after a routine checkup, doctors discovered a mass in his upper intestine. “Mr. Prophet, you’re not going anywhere,” he remembers one physician telling him. It was clearly cancer. But determining which kind required a type of scan that Kaiser couldn’t schedule for 12 long days.\u003c/p>\n\u003cp>[aside postID='arts_11428541']“It blindsided me,” says Prophet, 61. While he waited to learn his fate, he turned to music to distract him from fear. He’d been getting into Latin dance music for the last few years, so he listened to a lot of that. And then he wrote a song.\u003c/p>\n\u003cp>Two and a half years later, after surgery, chemotherapy and immunotherapy for stage-four lymphoma, Prophet is in full remission. Sitting at a Mission District coffee shop on a warm October afternoon, he is yet again gearing up for an international tour. “One Lie for Me, One for You,” the song he wrote during that two-week purgatory, is now a tender cowboy lullaby, undercut by both dread and acceptance, with lyrics about plunging into “dangerous waters” ahead.\u003c/p>\n\u003cp>It’s track 8 of 11 on Prophet’s new record \u003cem>Wake the Dead\u003c/em>, an album that drives headlong into the songwriter’s dark night of the soul with an unlikely companion riding shotgun: cumbia.\u003c/p>\n\u003cfigure id=\"attachment_13966904\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\" alt=\"a band of six men wearing sunglasses posed for a portrait\" width=\"2560\" height=\"2367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-800x740.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1020x943.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-768x710.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1536x1420.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-2048x1894.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1920x1775.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes includes (left to right) James DePrato, Joaquin Zamudia Garcia, Alejandro Gomez, Chuck Prophet, Vicente Rodriguez and Mario Cortez. \u003ccite>(Kory Thibeault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album, out Oct. 25, sees Prophet collaborating with \u003ca href=\"https://qiensavemusic.com/home/\">¿Qiensave?\u003c/a>, a Salinas-based band of brothers whose sound enchanted Prophet when he first heard them back in 2022. As soon as his health allowed, he began driving from his home in the Duboce Triangle to their place near Salinas to jam. Eventually, they all headed into an Oakland studio to record, intermingling with the usual suspects — including Prophet’s wife, keyboardist/vocalist Stephanie Finch — in his longtime band, the Mission Express.\u003c/p>\n\u003cp>The result is an adventurous, soulful project that deftly balances darkness and hope, shot through with the unmistakable energy of a veteran musician having more fun than he has in years. Longtime followers of Prophet’s work (his wide, loyal fanbase includes Bruce Springsteen, Lucinda Williams and Stephen King) will find plenty that’s familiar here. A storyteller at heart, he retains his usual dry wit and wistfulness over warm, jangly guitar, with tinges of rockabilly and surf punk.\u003c/p>\n\u003cp>But from the opening notes of the title track, clave rhythms, accordion and a Farfisa organ announce that this will not be your standard Americana record. “Gonna wake the dead, get ‘em on their feet,” Prophet sings slyly over rhythmic Latin percussion.\u003c/p>\n\u003cp>At the handful of live shows he’s played with this new band (“Chuck Prophet and His Cumbia Shoes”), people do something Prophet hasn’t always seen at his shows. They do get on their feet, immediately, and they dance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lmEpztGvPsY\u003c/p>\n\u003ch2>A different musical vocabulary\u003c/h2>\n\u003cp>The first time Prophet really “got” cumbia was around Hardly Strictly Bluegrass weekend, in October 2019. He and a few musicians who were in town for the festival played at the Make Out Room, and afterwards, a DJ started setting up for a staple at the tiny club. It was cumbia night.\u003c/p>\n\u003cp>“Me and the guys and Stephanie were all sitting in one of those Naugahyde booths, we’d stacked our stuff up, and they started playing this music — it was really loud with the subs and bass and everything,” he recalls. His drummer, Vicente Rodriguez, began showing Stephanie some dance moves. “I was watching them, listening to this music, and it was just one of those things, like: \u003cem>This is amazing.\u003c/em>”\u003c/p>\n\u003cp>Stuck at home during the early days of the pandemic, he threw himself into learning about the genre, but it was after his diagnosis that everything converged. He started collecting records, going to shows. He drove to Modesto to see the psych-punk-cumbia outfit \u003ca href=\"https://valleywolf.bandcamp.com/\">Valley Wolf,\u003c/a> and fell in love with the atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_13966944\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\" alt=\"a band performs onstage in pink and blue lighting\" width=\"2560\" height=\"2258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-800x706.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1020x900.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1536x1355.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-2048x1806.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1920x1694.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes perform at the Great American Music Hall on Oct. 6, 2024. \u003ccite>(Daniel Strickland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The crowd is not just standing there, watching the band,” he says. “They’re not shoegazing. \u003cem>Everyone’s\u003c/em> dancing. They’re partying. It’s Miller time.” Like with punk rock, he says, the hijinks in the crowd are just as lively and important as what’s happening onstage. “It kind of erases the line between the stage and the audience.”\u003c/p>\n\u003cp>Enter ¿Qiensave?, a cumbia urbana group that’s built a following in the West Coast’s Latin music and festival circuit since 2009. Hearing from Prophet was initially a little surprising, says Alejandro “Flaco” Gomez, who plays lead guitar and sings in the band. But Prophet’s curiosity was genuine, and he had an obvious desire to learn. He shared some new songs he’d written, and asked if they wanted to jam.\u003c/p>\n\u003cp>“He’s a man who does his research,” says Gomez, recalling the first few times Prophet drove out to play with the band. “And I appreciated his enthusiasm. He was excited to hear our interpretation of his music, and to bring his songs somewhere they had never been before. I mean, that’s how you innovate.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=edGzfjSBDks\u003c/p>\n\u003cp>A year later, the band was piling into 25th Street Recording in Oakland alongside the Mission Express. Gomez has been a working musician for over a decade; he releases his own music, which blends cumbia and boleros with more modern rock and pop sounds, under the name \u003ca href=\"https://www.flacoeljandro.com/\">Flaco el Jandro\u003c/a>. He’s no stranger to collaboration.\u003c/p>\n\u003cp>But “to have a collaboration where it was two groups of musicians that have never met or interacted, who come from completely different musical worlds and use different musical vocabulary?” says the musician. “That was exciting. I’ve never done anything like that in my life.”\u003c/p>\n\u003ch2>‘Cumbia is for everybody’\u003c/h2>\n\u003cp>It’s a week before his tour kicks off in Seattle, and Prophet is shopping at \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic\u003c/a>, the tiny Latin vinyl store on 24th street. He’s brought a list of Latin American psych-rock albums he wants to check out, like \u003cem>Rise of the Melted Eagle\u003c/em>, by Los Tabanos Experience, and \u003cem>Gran Muro de Coma\u003c/em>, by La Iglesia Atomica.\u003c/p>\n\u003cp>“This place is pretty hip,” he murmurs as he thumbs through records, eventually selecting a few to listen to on the store’s turntable. “Not a ton of reissues.”\u003c/p>\n\u003cfigure id=\"attachment_13966693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet shops for records at Discodelic in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, an elephant in the record shop: the question of when appreciation becomes appropriation.\u003c/p>\n\u003cp>¿Qiensave?’s Gomez says he knows what it’s like to feel tokenized in the music industry. But with Prophet, it’s been an ongoing conversation filled with respect: “To me, cumbia is for everybody,” he says. “Music is for everybody. So if you inject your respect and appreciation into it, and that shows through the art, then I don’t see anything wrong with it … cultural exchange, fusion, that’s how art and music grow and progress.”\u003c/p>\n\u003cp>Prophet reconciled any hesitation through enthusiastic co-signs from his collaborators. “There are always reasons not to do something,” he says, “but I know who I’m playing with.” On \u003cem>Wake the Dead\u003c/em>, that includes Prophet’s old friend \u003ca href=\"https://www.alejandroescovedo.com/\">Alejandro Escovedo\u003c/a>, formerly of groundbreaking San Francisco punk band the Nuns, who co-wrote and rips some beautiful guitar harmonies on “Sally Was a Cop.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Adrian Quesada of Black Pumas, who grew up steeped in Latin music, helped Prophet get over his sense that he wasn’t playing cumbia the right way.\u003c/p>\n\u003cp>“He said, ‘Pay no attention to the clave police.’ Which was his way of saying, if it feels good, it feels good, don’t worry about being correct,” says Prophet. He also looks to how the Clash incorporated reggae, which of course did not originate in their culture. “When I hear ‘Police and Thieves,’ I’m like, these guys don’t know what they’re doing. And it’s never bothered me!”\u003c/p>\n\u003cp>And then there’s this: When an art form helps comfort and guide you through the darkest time in your life, the suggestion that it’s problematic to practice that art might feel downright cruel.\u003c/p>\n\u003cfigure id=\"attachment_13966695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet stands on 24th Street in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes, lately, Prophet forgets he even had cancer. He doesn’t identify as the kind of person who goes around with a cancer story. “I’m not that guy,” he says. He’s always been lucky, he adds with a smile.\u003c/p>\n\u003cp>He still feels that way. But it’s undeniable that there’s something weightier in his voice now.\u003c/p>\n\u003cp>“It’s a good day to walk on water,” he sings in the album’s final moments. “It’s a good day to swallow your pride. It’s a good day to call your mother. It’s a good day to be alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Wake the Dead’ is released on Friday, Oct. 25. Chuck Prophet and His Cumbia Shoes play at 5 p.m. that day at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-2926/\">Amoeba Music\u003c/a> in Berkeley. After a European tour, the band plays a homecoming show on Saturday, Dec. 28, at \u003ca href=\"https://wl.seetickets.us/event/chuck-prophet-and-his-cumbia-shoes/622284?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For two weeks in March of 2022, \u003ca href=\"http://www.chuckprophet.com\">Chuck Prophet\u003c/a> didn’t know if he would live to see the end of the year.\u003c/p>\n\u003cp>Days earlier, the musician was gearing up for an international tour — one that had already been rescheduled three times due to COVID. He’d released a full-length in 2020, but hadn’t yet taken it on the road, and the acclaimed San Francisco rocker was excited to get out there.\u003c/p>\n\u003cp>Instead, after a routine checkup, doctors discovered a mass in his upper intestine. “Mr. Prophet, you’re not going anywhere,” he remembers one physician telling him. It was clearly cancer. But determining which kind required a type of scan that Kaiser couldn’t schedule for 12 long days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It blindsided me,” says Prophet, 61. While he waited to learn his fate, he turned to music to distract him from fear. He’d been getting into Latin dance music for the last few years, so he listened to a lot of that. And then he wrote a song.\u003c/p>\n\u003cp>Two and a half years later, after surgery, chemotherapy and immunotherapy for stage-four lymphoma, Prophet is in full remission. Sitting at a Mission District coffee shop on a warm October afternoon, he is yet again gearing up for an international tour. “One Lie for Me, One for You,” the song he wrote during that two-week purgatory, is now a tender cowboy lullaby, undercut by both dread and acceptance, with lyrics about plunging into “dangerous waters” ahead.\u003c/p>\n\u003cp>It’s track 8 of 11 on Prophet’s new record \u003cem>Wake the Dead\u003c/em>, an album that drives headlong into the songwriter’s dark night of the soul with an unlikely companion riding shotgun: cumbia.\u003c/p>\n\u003cfigure id=\"attachment_13966904\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg\" alt=\"a band of six men wearing sunglasses posed for a portrait\" width=\"2560\" height=\"2367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-800x740.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1020x943.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-768x710.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1536x1420.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-2048x1894.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/CD4T3830_Credit-Kory-Thibeault-1920x1775.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes includes (left to right) James DePrato, Joaquin Zamudia Garcia, Alejandro Gomez, Chuck Prophet, Vicente Rodriguez and Mario Cortez. \u003ccite>(Kory Thibeault)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album, out Oct. 25, sees Prophet collaborating with \u003ca href=\"https://qiensavemusic.com/home/\">¿Qiensave?\u003c/a>, a Salinas-based band of brothers whose sound enchanted Prophet when he first heard them back in 2022. As soon as his health allowed, he began driving from his home in the Duboce Triangle to their place near Salinas to jam. Eventually, they all headed into an Oakland studio to record, intermingling with the usual suspects — including Prophet’s wife, keyboardist/vocalist Stephanie Finch — in his longtime band, the Mission Express.\u003c/p>\n\u003cp>The result is an adventurous, soulful project that deftly balances darkness and hope, shot through with the unmistakable energy of a veteran musician having more fun than he has in years. Longtime followers of Prophet’s work (his wide, loyal fanbase includes Bruce Springsteen, Lucinda Williams and Stephen King) will find plenty that’s familiar here. A storyteller at heart, he retains his usual dry wit and wistfulness over warm, jangly guitar, with tinges of rockabilly and surf punk.\u003c/p>\n\u003cp>But from the opening notes of the title track, clave rhythms, accordion and a Farfisa organ announce that this will not be your standard Americana record. “Gonna wake the dead, get ‘em on their feet,” Prophet sings slyly over rhythmic Latin percussion.\u003c/p>\n\u003cp>At the handful of live shows he’s played with this new band (“Chuck Prophet and His Cumbia Shoes”), people do something Prophet hasn’t always seen at his shows. They do get on their feet, immediately, and they dance.\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/lmEpztGvPsY'\n title='//www.youtube.com/embed/lmEpztGvPsY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A different musical vocabulary\u003c/h2>\n\u003cp>The first time Prophet really “got” cumbia was around Hardly Strictly Bluegrass weekend, in October 2019. He and a few musicians who were in town for the festival played at the Make Out Room, and afterwards, a DJ started setting up for a staple at the tiny club. It was cumbia night.\u003c/p>\n\u003cp>“Me and the guys and Stephanie were all sitting in one of those Naugahyde booths, we’d stacked our stuff up, and they started playing this music — it was really loud with the subs and bass and everything,” he recalls. His drummer, Vicente Rodriguez, began showing Stephanie some dance moves. “I was watching them, listening to this music, and it was just one of those things, like: \u003cem>This is amazing.\u003c/em>”\u003c/p>\n\u003cp>Stuck at home during the early days of the pandemic, he threw himself into learning about the genre, but it was after his diagnosis that everything converged. He started collecting records, going to shows. He drove to Modesto to see the psych-punk-cumbia outfit \u003ca href=\"https://valleywolf.bandcamp.com/\">Valley Wolf,\u003c/a> and fell in love with the atmosphere.\u003c/p>\n\u003cfigure id=\"attachment_13966944\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966944\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg\" alt=\"a band performs onstage in pink and blue lighting\" width=\"2560\" height=\"2258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-800x706.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1020x900.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-768x677.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1536x1355.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-2048x1806.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241006_203623-1-1920x1694.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Chuck Prophet and His Cumbia Shoes perform at the Great American Music Hall on Oct. 6, 2024. \u003ccite>(Daniel Strickland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The crowd is not just standing there, watching the band,” he says. “They’re not shoegazing. \u003cem>Everyone’s\u003c/em> dancing. They’re partying. It’s Miller time.” Like with punk rock, he says, the hijinks in the crowd are just as lively and important as what’s happening onstage. “It kind of erases the line between the stage and the audience.”\u003c/p>\n\u003cp>Enter ¿Qiensave?, a cumbia urbana group that’s built a following in the West Coast’s Latin music and festival circuit since 2009. Hearing from Prophet was initially a little surprising, says Alejandro “Flaco” Gomez, who plays lead guitar and sings in the band. But Prophet’s curiosity was genuine, and he had an obvious desire to learn. He shared some new songs he’d written, and asked if they wanted to jam.\u003c/p>\n\u003cp>“He’s a man who does his research,” says Gomez, recalling the first few times Prophet drove out to play with the band. “And I appreciated his enthusiasm. He was excited to hear our interpretation of his music, and to bring his songs somewhere they had never been before. I mean, that’s how you innovate.”\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/edGzfjSBDks'\n title='//www.youtube.com/embed/edGzfjSBDks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A year later, the band was piling into 25th Street Recording in Oakland alongside the Mission Express. Gomez has been a working musician for over a decade; he releases his own music, which blends cumbia and boleros with more modern rock and pop sounds, under the name \u003ca href=\"https://www.flacoeljandro.com/\">Flaco el Jandro\u003c/a>. He’s no stranger to collaboration.\u003c/p>\n\u003cp>But “to have a collaboration where it was two groups of musicians that have never met or interacted, who come from completely different musical worlds and use different musical vocabulary?” says the musician. “That was exciting. I’ve never done anything like that in my life.”\u003c/p>\n\u003ch2>‘Cumbia is for everybody’\u003c/h2>\n\u003cp>It’s a week before his tour kicks off in Seattle, and Prophet is shopping at \u003ca href=\"https://www.kqed.org/arts/13931586/discodelic-brings-latin-vinyl-home-to-the-mission-district\">Discodelic\u003c/a>, the tiny Latin vinyl store on 24th street. He’s brought a list of Latin American psych-rock albums he wants to check out, like \u003cem>Rise of the Melted Eagle\u003c/em>, by Los Tabanos Experience, and \u003cem>Gran Muro de Coma\u003c/em>, by La Iglesia Atomica.\u003c/p>\n\u003cp>“This place is pretty hip,” he murmurs as he thumbs through records, eventually selecting a few to listen to on the store’s turntable. “Not a ton of reissues.”\u003c/p>\n\u003cfigure id=\"attachment_13966693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-12-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet shops for records at Discodelic in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, an elephant in the record shop: the question of when appreciation becomes appropriation.\u003c/p>\n\u003cp>¿Qiensave?’s Gomez says he knows what it’s like to feel tokenized in the music industry. But with Prophet, it’s been an ongoing conversation filled with respect: “To me, cumbia is for everybody,” he says. “Music is for everybody. So if you inject your respect and appreciation into it, and that shows through the art, then I don’t see anything wrong with it … cultural exchange, fusion, that’s how art and music grow and progress.”\u003c/p>\n\u003cp>Prophet reconciled any hesitation through enthusiastic co-signs from his collaborators. “There are always reasons not to do something,” he says, “but I know who I’m playing with.” On \u003cem>Wake the Dead\u003c/em>, that includes Prophet’s old friend \u003ca href=\"https://www.alejandroescovedo.com/\">Alejandro Escovedo\u003c/a>, formerly of groundbreaking San Francisco punk band the Nuns, who co-wrote and rips some beautiful guitar harmonies on “Sally Was a Cop.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Adrian Quesada of Black Pumas, who grew up steeped in Latin music, helped Prophet get over his sense that he wasn’t playing cumbia the right way.\u003c/p>\n\u003cp>“He said, ‘Pay no attention to the clave police.’ Which was his way of saying, if it feels good, it feels good, don’t worry about being correct,” says Prophet. He also looks to how the Clash incorporated reggae, which of course did not originate in their culture. “When I hear ‘Police and Thieves,’ I’m like, these guys don’t know what they’re doing. And it’s never bothered me!”\u003c/p>\n\u003cp>And then there’s this: When an art form helps comfort and guide you through the darkest time in your life, the suggestion that it’s problematic to practice that art might feel downright cruel.\u003c/p>\n\u003cfigure id=\"attachment_13966695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966695\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241015-CHUCKPROPHET-36-BL-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Musician Chuck Prophet stands on 24th Street in the Mission District of San Francisco on Oct. 15, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sometimes, lately, Prophet forgets he even had cancer. He doesn’t identify as the kind of person who goes around with a cancer story. “I’m not that guy,” he says. He’s always been lucky, he adds with a smile.\u003c/p>\n\u003cp>He still feels that way. But it’s undeniable that there’s something weightier in his voice now.\u003c/p>\n\u003cp>“It’s a good day to walk on water,” he sings in the album’s final moments. “It’s a good day to swallow your pride. It’s a good day to call your mother. It’s a good day to be alive.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Wake the Dead’ is released on Friday, Oct. 25. Chuck Prophet and His Cumbia Shoes play at 5 p.m. that day at \u003ca href=\"https://www.amoeba.com/live-shows/upcoming/detail-2926/\">Amoeba Music\u003c/a> in Berkeley. After a European tour, the band plays a homecoming show on Saturday, Dec. 28, at \u003ca href=\"https://wl.seetickets.us/event/chuck-prophet-and-his-cumbia-shoes/622284?afflky=TheChapel\">The Chapel\u003c/a> in San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a white dress, Charli XCX lightly swayed on the small stage while performing “Stay Away.” The crowd of 500 had come, curious to see the new British sensation who had broken through as a songwriter on Icona Pop’s “I Love It.” Her original ’80s-tinged, gothy pop showed individuality and \u003cspan style=\"font-weight: 400\">—\u003c/span> importantly for a 21-year-old on her first U.S. tour \u003cspan style=\"font-weight: 400\">—\u003c/span> potential.\u003c/p>\n\u003cp>Obviously, this wasn’t the Sweat tour with Charli XCX and Troye Sivan at the Chase Center, but rather Charli XCX’s first-ever Bay Area show at the San Francisco club Slim’s in 2013. I’d gone to it enamored with her debut album \u003cem>True Romance\u003c/em>; she joked with the crowd, gave it her all, and in lieu of a deep catalog, covered Bow Wow Wow’s “I Want Candy.” The whole thing was charming, unpolished and promising.\u003c/p>\n\u003cp>Eleven years and seven albums later, that promise reached its apex Sunday night as Charli dominated a very, very sold-out crowd of 20,000 in San Francisco, still riding high on \u003ca href=\"https://x.com/chartscharli/status/1848226339981038054\">this year’s dominant \u003cem>brat\u003c/em>\u003c/a>. She’s also graciously chosen to lend her clout to Sivan, a tour co-headliner on paper but a junior-league colleague in spirit, whose songs are fine but pale in close comparison to his tour partner.\u003c/p>\n\u003cfigure id=\"attachment_13966898\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX on her first U.S. tour at Slim’s in San Francisco in 2013. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ask any one of the \u003ca href=\"https://www.colorbook.io/hexcolors/view/8ACE00\">#8ACE00 green\u003c/a>-bedecked fans last night in “Gay Son” or “Thot Daughter” shirts to explain brat summer, and they’ll riff on a rotation of themes: living each night like it’s your last, looking extremely hot, going out and getting high with friends and strangers and being young and in love with the world. Which is to say, every teenage summer since modern times, except this year, \u003ca href=\"https://www.vox.com/the-goods/2019/7/12/20690515/hot-girl-summer-meme-define-explained\">like those before her\u003c/a>, Charli’s been able to soundtrack — and siphon — the horniest season.\u003c/p>\n\u003cp>That soundtrack sounded downright celestial Sunday night in a high-energy performance drawing heavily from \u003cem>brat\u003c/em>. “Club Classics,” “Von Dutch” and highlight “Sympathy Is a Knife” boomed with authority as Charli danced like a glitching \u003cem>Street Fighter\u003c/em> character on molly around the stage’s bare-scaffolding aesthetics of a warehouse rave. Whether playing to the camera beneath the stage’s transparent catwalk or reaching to fans over the furthest corners of its railings, Charli painted a canvas of the album that I’d always pictured when listening to it, minus any big gimmicks, pyrotechnics or backup dancers.\u003c/p>\n\u003cfigure id=\"attachment_13966902\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg\" alt=\"\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs during the sold-out Sweat tour stop at Madison Square Garden on September 23, 2024 in New York City. \u003ccite>(Rich Fury/MSG/Getty Images for MSG Entertainment Holdings, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Apple” got its viral dance moment with a group of fans on the jumbotron, “Vroom Vroom” and “I Love It” got the crowd pumped and deluxe edition track “Spring Breakers” was a nice surprise. But it was during “Girl, So Confusing” that I noticed the crowd singing along to the verses louder and more passionately than the chorus, a testament to Charli’s focus as a songwriter, and her ability to connect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sivan’s appeal is a little more inexplicable, juxtaposed as it is on the Sweat tour with Charli’s pop genius. All of the edges that Charli leaves jagged and honest, he sands off. With undulating choreography and undeniable sexiness, his performances of hits like “Youth” and “One of Your Girls” drove the crowd into a frenzy. Writhing on the satin sheets of an onstage bed, making out with his backup dancers, country two-stepping in chaps and a Stetson: Sivan knew the playbook for connecting with a very gay crowd.\u003c/p>\n\u003cfigure id=\"attachment_13966899\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Troye Sivan performs at Viejas Arena in San Diego on Oct. 18, 2024 as part of his Sweat tour with Charli XCX. \u003ccite>(Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But take away the early YouTube fame, the gyrations of his backup dancers and the brilliance of his music videos, and what you’ve got is playlist music that might make for a decent 3 p.m. slot on the Twin Peaks stage at Outside Lands.\u003c/p>\n\u003cp>Sivan’s singing is limited (“Rager teenager!” came off like a monotone Drake melody; other songs’ higher notes were handled by a backing track), and his stage patter consisted mostly of saying the words “San Francisco” as many times as possible. Checking my notebook from last night, I found myself writing “He has the range of a fencepost and the stage presence of a wet receipt on the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13966900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg\" alt=\"\" width=\"2000\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1536x925.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1920x1157.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX joins Troye Sivan on stage during the Something to Give Each Other Tour at OVO Arena Wembley on June 27, 2024 in London, England. \u003ccite>(Katja Ogrin/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s harsh, I admit. (You might have gotten an opposing view if Charli and Troye’s tour publicists \u003ca href=\"https://x.com/supermarke/status/1847327677356896373\">didn’t ridiculously deny press requests\u003c/a> from Bay Area queer journalists.) But Charli wasn’t always such a hypnotizing artist either. After that first San Francisco show at Slim’s, it took years and no small amount of risk-taking, of experimenting and sometimes failing, to refine her singular voice as a writer, singer and performer. Sivan is a perfectly fine avatar, but I don’t know if he’ll be adventurous enough to try similar risks, and that’s what it will take for him to fully come into his own as an artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Summertime is over, anyway, but you’d never guess it from the rapt crowd last night, screaming and dancing and on their feet for the entire 90 minutes, even during the ballad “Track 10” or during set-change lulls. After performing “1999” together, and a closing duet of the “Talk Talk” remix, Charli and Sivan bid farewell to the sea of green, and it spilled out into the street flush with rapture and, yes, sweat.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a white dress, Charli XCX lightly swayed on the small stage while performing “Stay Away.” The crowd of 500 had come, curious to see the new British sensation who had broken through as a songwriter on Icona Pop’s “I Love It.” Her original ’80s-tinged, gothy pop showed individuality and \u003cspan style=\"font-weight: 400\">—\u003c/span> importantly for a 21-year-old on her first U.S. tour \u003cspan style=\"font-weight: 400\">—\u003c/span> potential.\u003c/p>\n\u003cp>Obviously, this wasn’t the Sweat tour with Charli XCX and Troye Sivan at the Chase Center, but rather Charli XCX’s first-ever Bay Area show at the San Francisco club Slim’s in 2013. I’d gone to it enamored with her debut album \u003cem>True Romance\u003c/em>; she joked with the crowd, gave it her all, and in lieu of a deep catalog, covered Bow Wow Wow’s “I Want Candy.” The whole thing was charming, unpolished and promising.\u003c/p>\n\u003cp>Eleven years and seven albums later, that promise reached its apex Sunday night as Charli dominated a very, very sold-out crowd of 20,000 in San Francisco, still riding high on \u003ca href=\"https://x.com/chartscharli/status/1848226339981038054\">this year’s dominant \u003cem>brat\u003c/em>\u003c/a>. She’s also graciously chosen to lend her clout to Sivan, a tour co-headliner on paper but a junior-league colleague in spirit, whose songs are fine but pale in close comparison to his tour partner.\u003c/p>\n\u003cfigure id=\"attachment_13966898\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966898\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg\" alt=\"\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0581-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX on her first U.S. tour at Slim’s in San Francisco in 2013. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ask any one of the \u003ca href=\"https://www.colorbook.io/hexcolors/view/8ACE00\">#8ACE00 green\u003c/a>-bedecked fans last night in “Gay Son” or “Thot Daughter” shirts to explain brat summer, and they’ll riff on a rotation of themes: living each night like it’s your last, looking extremely hot, going out and getting high with friends and strangers and being young and in love with the world. Which is to say, every teenage summer since modern times, except this year, \u003ca href=\"https://www.vox.com/the-goods/2019/7/12/20690515/hot-girl-summer-meme-define-explained\">like those before her\u003c/a>, Charli’s been able to soundtrack — and siphon — the horniest season.\u003c/p>\n\u003cp>That soundtrack sounded downright celestial Sunday night in a high-energy performance drawing heavily from \u003cem>brat\u003c/em>. “Club Classics,” “Von Dutch” and highlight “Sympathy Is a Knife” boomed with authority as Charli danced like a glitching \u003cem>Street Fighter\u003c/em> character on molly around the stage’s bare-scaffolding aesthetics of a warehouse rave. Whether playing to the camera beneath the stage’s transparent catwalk or reaching to fans over the furthest corners of its railings, Charli painted a canvas of the album that I’d always pictured when listening to it, minus any big gimmicks, pyrotechnics or backup dancers.\u003c/p>\n\u003cfigure id=\"attachment_13966902\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg\" alt=\"\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2174224055-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX performs during the sold-out Sweat tour stop at Madison Square Garden on September 23, 2024 in New York City. \u003ccite>(Rich Fury/MSG/Getty Images for MSG Entertainment Holdings, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Apple” got its viral dance moment with a group of fans on the jumbotron, “Vroom Vroom” and “I Love It” got the crowd pumped and deluxe edition track “Spring Breakers” was a nice surprise. But it was during “Girl, So Confusing” that I noticed the crowd singing along to the verses louder and more passionately than the chorus, a testament to Charli’s focus as a songwriter, and her ability to connect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sivan’s appeal is a little more inexplicable, juxtaposed as it is on the Sweat tour with Charli’s pop genius. All of the edges that Charli leaves jagged and honest, he sands off. With undulating choreography and undeniable sexiness, his performances of hits like “Youth” and “One of Your Girls” drove the crowd into a frenzy. Writhing on the satin sheets of an onstage bed, making out with his backup dancers, country two-stepping in chaps and a Stetson: Sivan knew the playbook for connecting with a very gay crowd.\u003c/p>\n\u003cfigure id=\"attachment_13966899\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966899\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg\" alt=\"\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1366x2048.jpg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/FG3A4962-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Troye Sivan performs at Viejas Arena in San Diego on Oct. 18, 2024 as part of his Sweat tour with Charli XCX. \u003ccite>(Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But take away the early YouTube fame, the gyrations of his backup dancers and the brilliance of his music videos, and what you’ve got is playlist music that might make for a decent 3 p.m. slot on the Twin Peaks stage at Outside Lands.\u003c/p>\n\u003cp>Sivan’s singing is limited (“Rager teenager!” came off like a monotone Drake melody; other songs’ higher notes were handled by a backing track), and his stage patter consisted mostly of saying the words “San Francisco” as many times as possible. Checking my notebook from last night, I found myself writing “He has the range of a fencepost and the stage presence of a wet receipt on the sidewalk.”\u003c/p>\n\u003cfigure id=\"attachment_13966900\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966900\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg\" alt=\"\" width=\"2000\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1536x925.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-2159614515-1920x1157.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Charli XCX joins Troye Sivan on stage during the Something to Give Each Other Tour at OVO Arena Wembley on June 27, 2024 in London, England. \u003ccite>(Katja Ogrin/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s harsh, I admit. (You might have gotten an opposing view if Charli and Troye’s tour publicists \u003ca href=\"https://x.com/supermarke/status/1847327677356896373\">didn’t ridiculously deny press requests\u003c/a> from Bay Area queer journalists.) But Charli wasn’t always such a hypnotizing artist either. After that first San Francisco show at Slim’s, it took years and no small amount of risk-taking, of experimenting and sometimes failing, to refine her singular voice as a writer, singer and performer. Sivan is a perfectly fine avatar, but I don’t know if he’ll be adventurous enough to try similar risks, and that’s what it will take for him to fully come into his own as an artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Summertime is over, anyway, but you’d never guess it from the rapt crowd last night, screaming and dancing and on their feet for the entire 90 minutes, even during the ballad “Track 10” or during set-change lulls. After performing “1999” together, and a closing duet of the “Talk Talk” remix, Charli and Sivan bid farewell to the sea of green, and it spilled out into the street flush with rapture and, yes, sweat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Barbara Dane, a jazz, blues and folk music giant who tirelessly championed social justice movements from around the world, died of heart failure in her Oakland home on Oct. 20 at age 97, her daughter Nina Menendez told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/barbara-dane-indomitable-blues-jazz-singer-dead-19850203.php\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Praised for her rich voice, Dane was known not only for singing with Louis Armstrong and Muddy Waters, but also for founding Paredon Records with her husband, music scholar and activist Irwin Silber. From 1970 to 1985, the label put out over 50 albums that addressed racial justice, feminism and anti-imperialism, giving a platform to activist artists from Cuba, Palestine, Puerto Rico, Mexico, Greece, the United States and many other places. Their work is now archived in Smithsonian Folkways.\u003c/p>\n\u003cp>“I saw that whenever the movement in a particular country was strong, there was an emerging music to go with it,” Dane told \u003ca href=\"https://www.nytimes.com/2021/02/10/arts/music/barbara-dane-paredon-records.html\">\u003cem>The New York Times\u003c/em> in 2021\u003c/a>. “It struck me that this stuff needed to be heard in the voices of the people who wrote the songs.”\u003c/p>\n\u003cp>Instead of following a conventional path to fame, the Detroit-born Dane began her career as a teenager in the 1940s singing at protests. “Why would I want to stand in front of a band with a low-cut dress singing stupid words when I could be singing for workers who are on strike?” she said in the \u003cem>Times\u003c/em> interview about her career beginnings. “It didn’t seem like a good bargain to me.”\u003c/p>\n\u003cp>Dane relocated to San Francisco that decade and became a star of the local post-World War II jazz and blues scene, which also launched the careers of Etta James and \u003ca href=\"https://www.kqed.org/arts/13934476/8-over-80-sugar-pie-desanto\">Sugar Pie DeSanto\u003c/a>. She made her debut as a recording artist with her 1957 album, \u003cem>Trouble in Mind\u003c/em>. As a white artist, she defied convention by touring with Black musicians like Willie Dixon and Memphis Slim during segregation. In 1961, Dane opened her own club in San Francisco’s North Beach, Sugar Hill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even in this business the way it is now, there really isn’t anyone that accomplished as much as she did, in terms of breaking barriers and standing up for what she believed in,” \u003ca href=\"https://www.npr.org/2011/03/14/134532146/barbara-dane-a-versatile-voice-with-a-political-purpose\">Bonnie Raitt told NPR in 2011\u003c/a>. “She’s always been a role model and a hero of mine, musically and politically.”\u003c/p>\n\u003cp>From the 1940s, Dane was involved in leftist politics and joined the Communist Party, from which she was later expelled in the 1950s for undisclosed reasons. She continued to identify as a socialist. In 1966, she became the first singer from the U.S. to perform in post-revolutionary Cuba. In the 1970s, she dedicated herself to performing at anti-Vietnam War rallies, and released her album \u003ci>I Hate the Capitalist System\u003c/i> in 1973.\u003c/p>\n\u003cp>Dane was one of the many artists whom the FBI surveilled because of their activism, and her FBI file later became source material for her 2022 autobiography, \u003ci>This Bell Still Rings: My Life of Defiance and Song\u003c/i>, where she revealed that she suspected her first husband, Rolf Cahn, of feeding the FBI information about her.\u003c/p>\n\u003cp>Dane continued to be active well into her 90s. In addition to publishing her book, she continued to perform and appeared in a 2023 documentary about her life, \u003ca href=\"https://www.imdb.com/title/tt32394267/?ref_=tt_mv_close\">\u003ci>The Nine Lives of Barbara Dane\u003c/i>\u003c/a>, which is currently on the international film festival circuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She is survived by her children Jesse Cahn, Pablo Menendez and Nina Menendez, and grandson Osamu Menendez (all of whom are musicians), and three great-grandchildren. According to the \u003cem>San Francisco Chronicle\u003c/em>, a memorial will be announced in the spring.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barbara Dane, a jazz, blues and folk music giant who tirelessly championed social justice movements from around the world, died of heart failure in her Oakland home on Oct. 20 at age 97, her daughter Nina Menendez told the \u003ca href=\"https://www.sfchronicle.com/entertainment/article/barbara-dane-indomitable-blues-jazz-singer-dead-19850203.php\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Praised for her rich voice, Dane was known not only for singing with Louis Armstrong and Muddy Waters, but also for founding Paredon Records with her husband, music scholar and activist Irwin Silber. From 1970 to 1985, the label put out over 50 albums that addressed racial justice, feminism and anti-imperialism, giving a platform to activist artists from Cuba, Palestine, Puerto Rico, Mexico, Greece, the United States and many other places. Their work is now archived in Smithsonian Folkways.\u003c/p>\n\u003cp>“I saw that whenever the movement in a particular country was strong, there was an emerging music to go with it,” Dane told \u003ca href=\"https://www.nytimes.com/2021/02/10/arts/music/barbara-dane-paredon-records.html\">\u003cem>The New York Times\u003c/em> in 2021\u003c/a>. “It struck me that this stuff needed to be heard in the voices of the people who wrote the songs.”\u003c/p>\n\u003cp>Instead of following a conventional path to fame, the Detroit-born Dane began her career as a teenager in the 1940s singing at protests. “Why would I want to stand in front of a band with a low-cut dress singing stupid words when I could be singing for workers who are on strike?” she said in the \u003cem>Times\u003c/em> interview about her career beginnings. “It didn’t seem like a good bargain to me.”\u003c/p>\n\u003cp>Dane relocated to San Francisco that decade and became a star of the local post-World War II jazz and blues scene, which also launched the careers of Etta James and \u003ca href=\"https://www.kqed.org/arts/13934476/8-over-80-sugar-pie-desanto\">Sugar Pie DeSanto\u003c/a>. She made her debut as a recording artist with her 1957 album, \u003cem>Trouble in Mind\u003c/em>. As a white artist, she defied convention by touring with Black musicians like Willie Dixon and Memphis Slim during segregation. In 1961, Dane opened her own club in San Francisco’s North Beach, Sugar Hill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even in this business the way it is now, there really isn’t anyone that accomplished as much as she did, in terms of breaking barriers and standing up for what she believed in,” \u003ca href=\"https://www.npr.org/2011/03/14/134532146/barbara-dane-a-versatile-voice-with-a-political-purpose\">Bonnie Raitt told NPR in 2011\u003c/a>. “She’s always been a role model and a hero of mine, musically and politically.”\u003c/p>\n\u003cp>From the 1940s, Dane was involved in leftist politics and joined the Communist Party, from which she was later expelled in the 1950s for undisclosed reasons. She continued to identify as a socialist. In 1966, she became the first singer from the U.S. to perform in post-revolutionary Cuba. In the 1970s, she dedicated herself to performing at anti-Vietnam War rallies, and released her album \u003ci>I Hate the Capitalist System\u003c/i> in 1973.\u003c/p>\n\u003cp>Dane was one of the many artists whom the FBI surveilled because of their activism, and her FBI file later became source material for her 2022 autobiography, \u003ci>This Bell Still Rings: My Life of Defiance and Song\u003c/i>, where she revealed that she suspected her first husband, Rolf Cahn, of feeding the FBI information about her.\u003c/p>\n\u003cp>Dane continued to be active well into her 90s. In addition to publishing her book, she continued to perform and appeared in a 2023 documentary about her life, \u003ca href=\"https://www.imdb.com/title/tt32394267/?ref_=tt_mv_close\">\u003ci>The Nine Lives of Barbara Dane\u003c/i>\u003c/a>, which is currently on the international film festival circuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She is survived by her children Jesse Cahn, Pablo Menendez and Nina Menendez, and grandson Osamu Menendez (all of whom are musicians), and three great-grandchildren. According to the \u003cem>San Francisco Chronicle\u003c/em>, a memorial will be announced in the spring.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966773\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg\" alt=\"Sammy Shiblaq raps on stage with men behind him with their faces wrapped in keffiyehs.\" width=\"819\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-768x960.jpg 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">On his album ‘The Project of Liberation,’ Sammy Shiblaq made drill-rap protest anthems and poetic meditations on Palestinians’ struggle for dignity and freedom. \u003ccite>(Zofia Beck Anchondo (@zofotography))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, a trip to the West Bank changed \u003ca href=\"https://www.instagram.com/sammyshiblaq/?hl=en\">Sammy Shiblaq\u003c/a> forever.\u003c/p>\n\u003cp>The Palestinian American rapper visited his grandparents’ homeland for the first time that year. Despite living under Israeli military occupation, the people he met were generous and surprisingly happy. Thousands of smiles lit up in the crowd during his show in Ramallah, and strangers welcomed his family into their home for dinner.\u003c/p>\n\u003cp>“Every city I went to, they didn’t want your money. … They just wanted you to visit them,” says the artist, whose grandparents were displaced from their hometown of Haifa during the Nakba of 1948. “I mean, it sounds crazy. They want the suffering and the occupation to stop, of course. But for the tourist who supports them, all they ask you to do is go visit them, go support them, go be with them. They’re a happy people. They enjoy life even in their conditions. It changed me.” [aside postid='arts_13966738']\u003c/p>\n\u003cp>Shiblaq returned home with a clear sense of purpose: to use his music to uplift everyday Palestinian people who simply want dignity and freedom. The Detroit-raised, San José-based artist recently released \u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">\u003ci>The Project of Liberation\u003c/i>\u003c/a>, a 16-track album of drill-rap protest anthems, poetic meditations and pleas for an end to Israel’s bombardment of Gaza.\u003c/p>\n\u003cp>“I think that’s one of my duties in the movement, to make music that isn’t just listened to by the Palestinians, isn’t just listened to by Arabs,” he says. “It needs to be listened to by the greater community. N.W.A. Dropped ‘F tha Police’ and it became an anthem against police brutality and the injustices in the system. But it wasn’t just in the Black community. It transcended boundaries.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/oFZQ_IQSMcY?si=0NEezlNAsXR_ynDx\u003c/p>\n\u003cp>Shiblaq, who is signed to the San Francisco label EMPIRE, began recording \u003ci>The Project of Liberation\u003c/i> in October 2023. Before getting in the booth, he watched social media footage of Israel’s U.S.-made bombs dropping on hospitals and schools, of children dying in the rubble; he stayed in constant touch with his cousins in Gaza while fearing for their lives. As the music took shape, he decided to use proceeds from the album, which has topped a million streams, for his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">relief fund to evacuate his family\u003c/a> from Gaza to Egypt. [aside postid='arts_13966207']\u003c/p>\n\u003cp>Shiblaq channeled his anguish into the first single off the album, “Peace Without Freedom.” The somber yet determined track takes inspiration from a Malcolm X quote from 1965: “You can’t separate peace from freedom because no one can be at peace unless he has his freedom.” On the first verse, Shiblaq raps about the horrors of daily life in Gaza over hi-hats and a guitar sample that put his strong voice into focus. On verse two, he takes us to the West Bank, where Israeli extremists have set up illegal settlements and \u003ca href=\"https://www.npr.org/2024/10/12/g-s1-27704/west-bank-palestinians-violence-israel-settlers\">harass, kill and further displace Palestinians\u003c/a>, violating international law.\u003c/p>\n\u003cp>“This concept that’s portrayed in the media is that the Palestinians don’t want peace,” he says of his thought process behind the track. “‘The Palestinians need to just accept getting beat up and having their land stolen. They need to just give up and let Israel win.’ And it’s a stupid concept. You’re asking people to just keep getting beat and just take it. Not tell the world. Not try to make a movement.”\u003c/p>\n\u003cp>https://youtu.be/d2fzY27hj3g?si=PJ9ytfTn57GDlTlu\u003c/p>\n\u003cp>Though he didn’t set out to make protest music, “Peace Without Freedom” has become a rallying cry at anti-imperialist marches, and other tracks off \u003ci>The Project of Liberation\u003c/i> have gotten millions of views \u003ca href=\"https://www.tiktok.com/@sammyshiblaq?lang=en\">on TikTok\u003c/a>. One of those is “Gaza Strip 2 Detroit,” an adrenaline-raising drill-rap anthem where Shiblaq indignantly raps: “They gon’ tryna take us off the map, but we’re still holdin’ on / Ask what I condemn, genocide — is that what y’all condone?”\u003c/p>\n\u003cp>Earlier this month, when Shiblaq headlined a fundraiser for Middle East Children’s Alliance at San Francisco’s African American Art & Culture Complex, teenagers in keffiyehs moshed and screamed along to the lyrics in a moment of joy and catharsis. Shiblaq exuded stoic confidence as he worked the crowd, then ended the set in a heartfelt moment by asking everyone to join him in a selfie video dedicating the show to his cousins in Gaza. (The event, put on by Arab Resource and Organizing Center, ended up raising $50,000 for relief efforts, according to the organizers.)\u003c/p>\n\u003cp>https://youtu.be/Bg2jA9j7qzI?si=OYhzMfgjf7TROhJ2\u003c/p>\n\u003cp>Shiblaq says that in addition to educating and grieving, he wants \u003ci>The Project of Liberation\u003c/i> to instill a sense of pride. “I think we need to shed light on the victim, but we need to understand our goal isn’t just to dehumanize our people,” he says. “If we completely make this movement just about victimhood, then they will win. There needs to be a sense of victory and liberation.”\u003c/p>\n\u003cp>What does that look like? “Liberation means justice, happiness,” he says. “I think just for Palestinian people specifically, liberation means no more occupation, no more apartheid and just \u003ci>life\u003c/i>.”\u003c/p>\n\u003cp>https://youtu.be/R1jyTGONngI?si=apFMd0LOjvinZ2Z4\u003c/p>\n\u003cp>On a particularly poignant moment of the track “\u003ca href=\"https://www.youtube.com/watch?v=LLPxrYmJpC8\">Liberation\u003c/a>,” the beat stops and his voice rises as he puts it this way: “They put this knife in your back / They don’t pull it out / But they tell you to heal from that / Let’s just be real with that / If they took the land, the kids, the home that you lived in / You wouldn’t deal with that.”\u003c/p>\n\u003cp>Up next, Shiblaq is performing at \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a>, an Oct. 19 celebration in Redwood City, followed by shows in Chicago and Los Angeles. Growing up, he felt alone every time he tried to talk about the Palestinian struggle. But now he sees people of all backgrounds — Jewish, Black, Samoan, Mexican, Native American — out in droves at marches for Palestinian liberation. That solidarity, and his faith, help him keep going.\u003c/p>\n\u003cp>“I’ve lost my hope in governments. … But I do see hope in community — the communities that you build amongst your family, the friends around you,” he says. “Creating good in your world will create more good in the rest of the world. And I think that’s the best thing we can do. I can’t tell you when this is going to end. But I can tell you, the Palestinian people, they will never die. They will never leave their land.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sammy Shiblaq performs at the 45th annual \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a> on Oct. 19 in Redwood City. You can stream ‘\u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">The Project of Liberation\u003c/a>’ here and view his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">GoFundMe here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966773\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg\" alt=\"Sammy Shiblaq raps on stage with men behind him with their faces wrapped in keffiyehs.\" width=\"819\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-768x960.jpg 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">On his album ‘The Project of Liberation,’ Sammy Shiblaq made drill-rap protest anthems and poetic meditations on Palestinians’ struggle for dignity and freedom. \u003ccite>(Zofia Beck Anchondo (@zofotography))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, a trip to the West Bank changed \u003ca href=\"https://www.instagram.com/sammyshiblaq/?hl=en\">Sammy Shiblaq\u003c/a> forever.\u003c/p>\n\u003cp>The Palestinian American rapper visited his grandparents’ homeland for the first time that year. Despite living under Israeli military occupation, the people he met were generous and surprisingly happy. Thousands of smiles lit up in the crowd during his show in Ramallah, and strangers welcomed his family into their home for dinner.\u003c/p>\n\u003cp>“Every city I went to, they didn’t want your money. … They just wanted you to visit them,” says the artist, whose grandparents were displaced from their hometown of Haifa during the Nakba of 1948. “I mean, it sounds crazy. They want the suffering and the occupation to stop, of course. But for the tourist who supports them, all they ask you to do is go visit them, go support them, go be with them. They’re a happy people. They enjoy life even in their conditions. It changed me.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shiblaq returned home with a clear sense of purpose: to use his music to uplift everyday Palestinian people who simply want dignity and freedom. The Detroit-raised, San José-based artist recently released \u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">\u003ci>The Project of Liberation\u003c/i>\u003c/a>, a 16-track album of drill-rap protest anthems, poetic meditations and pleas for an end to Israel’s bombardment of Gaza.\u003c/p>\n\u003cp>“I think that’s one of my duties in the movement, to make music that isn’t just listened to by the Palestinians, isn’t just listened to by Arabs,” he says. “It needs to be listened to by the greater community. N.W.A. Dropped ‘F tha Police’ and it became an anthem against police brutality and the injustices in the system. But it wasn’t just in the Black community. It transcended boundaries.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oFZQ_IQSMcY'\n title='//www.youtube.com/embed/oFZQ_IQSMcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shiblaq, who is signed to the San Francisco label EMPIRE, began recording \u003ci>The Project of Liberation\u003c/i> in October 2023. Before getting in the booth, he watched social media footage of Israel’s U.S.-made bombs dropping on hospitals and schools, of children dying in the rubble; he stayed in constant touch with his cousins in Gaza while fearing for their lives. As the music took shape, he decided to use proceeds from the album, which has topped a million streams, for his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">relief fund to evacuate his family\u003c/a> from Gaza to Egypt. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shiblaq channeled his anguish into the first single off the album, “Peace Without Freedom.” The somber yet determined track takes inspiration from a Malcolm X quote from 1965: “You can’t separate peace from freedom because no one can be at peace unless he has his freedom.” On the first verse, Shiblaq raps about the horrors of daily life in Gaza over hi-hats and a guitar sample that put his strong voice into focus. On verse two, he takes us to the West Bank, where Israeli extremists have set up illegal settlements and \u003ca href=\"https://www.npr.org/2024/10/12/g-s1-27704/west-bank-palestinians-violence-israel-settlers\">harass, kill and further displace Palestinians\u003c/a>, violating international law.\u003c/p>\n\u003cp>“This concept that’s portrayed in the media is that the Palestinians don’t want peace,” he says of his thought process behind the track. “‘The Palestinians need to just accept getting beat up and having their land stolen. They need to just give up and let Israel win.’ And it’s a stupid concept. You’re asking people to just keep getting beat and just take it. Not tell the world. Not try to make a movement.”\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/d2fzY27hj3g'\n title='//www.youtube.com/embed/d2fzY27hj3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though he didn’t set out to make protest music, “Peace Without Freedom” has become a rallying cry at anti-imperialist marches, and other tracks off \u003ci>The Project of Liberation\u003c/i> have gotten millions of views \u003ca href=\"https://www.tiktok.com/@sammyshiblaq?lang=en\">on TikTok\u003c/a>. One of those is “Gaza Strip 2 Detroit,” an adrenaline-raising drill-rap anthem where Shiblaq indignantly raps: “They gon’ tryna take us off the map, but we’re still holdin’ on / Ask what I condemn, genocide — is that what y’all condone?”\u003c/p>\n\u003cp>Earlier this month, when Shiblaq headlined a fundraiser for Middle East Children’s Alliance at San Francisco’s African American Art & Culture Complex, teenagers in keffiyehs moshed and screamed along to the lyrics in a moment of joy and catharsis. Shiblaq exuded stoic confidence as he worked the crowd, then ended the set in a heartfelt moment by asking everyone to join him in a selfie video dedicating the show to his cousins in Gaza. (The event, put on by Arab Resource and Organizing Center, ended up raising $50,000 for relief efforts, according to the organizers.)\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/Bg2jA9j7qzI'\n title='//www.youtube.com/embed/Bg2jA9j7qzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shiblaq says that in addition to educating and grieving, he wants \u003ci>The Project of Liberation\u003c/i> to instill a sense of pride. “I think we need to shed light on the victim, but we need to understand our goal isn’t just to dehumanize our people,” he says. “If we completely make this movement just about victimhood, then they will win. There needs to be a sense of victory and liberation.”\u003c/p>\n\u003cp>What does that look like? “Liberation means justice, happiness,” he says. “I think just for Palestinian people specifically, liberation means no more occupation, no more apartheid and just \u003ci>life\u003c/i>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1jyTGONngI'\n title='//www.youtube.com/embed/R1jyTGONngI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a particularly poignant moment of the track “\u003ca href=\"https://www.youtube.com/watch?v=LLPxrYmJpC8\">Liberation\u003c/a>,” the beat stops and his voice rises as he puts it this way: “They put this knife in your back / They don’t pull it out / But they tell you to heal from that / Let’s just be real with that / If they took the land, the kids, the home that you lived in / You wouldn’t deal with that.”\u003c/p>\n\u003cp>Up next, Shiblaq is performing at \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a>, an Oct. 19 celebration in Redwood City, followed by shows in Chicago and Los Angeles. Growing up, he felt alone every time he tried to talk about the Palestinian struggle. But now he sees people of all backgrounds — Jewish, Black, Samoan, Mexican, Native American — out in droves at marches for Palestinian liberation. That solidarity, and his faith, help him keep going.\u003c/p>\n\u003cp>“I’ve lost my hope in governments. … But I do see hope in community — the communities that you build amongst your family, the friends around you,” he says. “Creating good in your world will create more good in the rest of the world. And I think that’s the best thing we can do. I can’t tell you when this is going to end. But I can tell you, the Palestinian people, they will never die. They will never leave their land.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sammy Shiblaq performs at the 45th annual \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a> on Oct. 19 in Redwood City. You can stream ‘\u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">The Project of Liberation\u003c/a>’ here and view his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">GoFundMe here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
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"content": "\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSW2M-BB1NE\u003c/p>\n\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\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/vSW2M-BB1NE'\n title='//www.youtube.com/embed/vSW2M-BB1NE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Oakland, ‘Artists Against Apartheid’ Build Solidarity With Palestinians",
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"content": "\u003cp>On Tuesday night in Oakland, about 70 artists — mostly in their 20s and 30s, with some as old as 80 — filed into a small storefront near Fruitvale BART. In attendance were Stanford students who had participated in the pro-Palestinian campus encampment, protest drummers, political poets, documentary filmmakers, muralists and choreographers. Emory Douglas, graphic artist for the Black Panther Party, joined the gathering too.\u003c/p>\n\u003cp>As Israel’s U.S.-backed bombardment of Gaza continues, these creatives gathered at the \u003ca href=\"https://www.instagram.com/oaklandliberationcenter/\">Oakland Liberation Center\u003c/a>, an education and event space run by the \u003ca href=\"https://pslweb.org/\">Party for Socialism and Liberation\u003c/a>, for the first exploratory Bay Area meeting of Artists Against Apartheid. The goal of Artists Against Apartheid, a loose national coalition, is to use creative work to shift dehumanizing narratives about Palestinians, and support their resistance against oppression.\u003c/p>\n\u003cp>Curator and arts educator Nora Boyd, one of the volunteers behind the event, kicked off the evening by sharing her observations about the structure of the art world, and how it supports the interests of the ultra-wealthy. [aside postid='arts_13966207']\u003c/p>\n\u003cp>“Like many of you, I’ve been involved in the struggle for Palestinian liberation for years,” she said. “And I think a lot of us have felt this: We just want to connect the inspiring and fulfilling work that we do in the arts with the justice, urgency and absolute rightness of this struggle. … We have these voices as artists, but we don’t have the spaces to use them for what we want.”\u003c/p>\n\u003cp>Boyd shared some background information about how Artists Against Apartheid began. Last year, at an activist hub in New York called The People’s Forum, artists penned an \u003ca href=\"https://form.typeform.com/to/rREds3Hn?typeform-source=againstapartheid.art\">open letter\u003c/a> pledging to use their work to support Palestinians, who “face brutal and humiliating conditions” that have “earned Israel the designation as an apartheid state by human rights organizations across the globe,” the letter reads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over 15,000 artists — including celebrities like Kehlani, Pink Floyd’s Roger Waters and Lil Yachty — have since signed the letter, and nine regional chapters of the group have formed in Los Angeles, Chicago and other U.S. cities.\u003c/p>\n\u003cp>A musician and organizer from \u003ca href=\"https://palestinianyouthmovement.com/\">Palestinian Youth Movement\u003c/a>, who identified themself as Salma T., spoke to the group about how creative work in the West is treated as a product for consumption, and often viewed as separate from social movements.\u003c/p>\n\u003cp>Art is “the quickest way to reach people because you take these complex ideas, these political analyses, these big positions, and you are synthesizing in a way that makes people feel,” said Salma. “And that’s a really, really powerful thing. … I’m really proud and excited to be part of the inception of this space here in the Bay for us to organize together.” [aside postid='arts_13966184']\u003c/p>\n\u003cp>The artists then grabbed snacks, colored pencils and construction paper and split into groups of five to eight people. Prompts appeared on the projector, and people of different ages, ethnicities and artistic disciplines discussed how the witnessing of mass killings of Palestinian civilians has shifted the way they view their role as artists.\u003c/p>\n\u003cp>Indeed, Artists Against Apartheid met during a devastating week of news from Gaza. On Monday, an \u003ca href=\"https://www.pbs.org/newshour/show/israeli-attack-on-tent-camp-outside-hospital-in-gaza-kills-at-least-4-injures-dozens\">Israeli airstrike hit a tent camp at a hospital\u003c/a> where displaced Gazans were sheltering, and footage spread on social media of four people burning alive. Since Hamas’ Oct. 7, 2023 attack that killed 1,200 Israelis, according to the Israel’s ministry of foreign affairs, the death toll in Gaza has surpassed 42,000 people, mostly women and children, according to Gaza’s health ministry. Recently, reports have surfaced of \u003ca href=\"https://www.cnn.com/2024/10/16/middleeast/israeli-incursion-northern-gaza-stray-dogs-eating-bodies-intl/index.html\">mass starvation and stray dogs eating decomposing bodies\u003c/a> in the streets of Gaza.\u003c/p>\n\u003cp>“It’s been over a year since Oct. 7, but this genocide has been happening for many, many years,” said jo “love/speak” cruz of the hip-hop collective Audiopharmacy. “As someone who comes from a place that has experienced colonization itself, the Philippines, I feel like [it’s important to] not only to raise awareness, but to really activate our communities to push policies and elect people that are really going to understand that it is through this liberation of Palestine that we’re all going to be able to be free.”\u003c/p>\n\u003cfigure id=\"attachment_13966739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas addresses the crowd at the Artists Against Apartheid meeting on Oct. 15, 2024 in Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emory Douglas, who served as the Black Panthers’ Minister of Culture, read to the group from his \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a>, a collection of 12 guidelines he wrote for young artists. His advice included to “create art of social concerns that even a child can understand” and “be prepared if necessary to defend and explain what you communicate in your art.”\u003c/p>\n\u003cp>Douglas was one of 50 artists and organizers who recently debuted a collaborative mural connecting social struggles in Oakland to those of Gaza and the West Bank. In an interview, he said that in the past year, he’s ramped up work commenting on the Palestinian struggle. “The focal point being ‘made in America’ in relationship to the bombs and everything that’s happening,” he said.\u003c/p>\n\u003cp>Looking out approvingly onto the young people engrossed in animated discussions, Douglas added, “They continue to be inspired to be informed, enlightened. And they’ll figure it out as they evolve.”\u003c/p>\n\u003cp>As breakout groups wrapped up, artists shared out to the larger group. Some talked about ideas for art protests, while others strategized around sharing skills. Organizers laid out plans to meet monthly and invited attendees to join a Telegram group chat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being in a warm, supportive, multigenerational space dedicated to learning and to liberation, truly, I could just feel the optimism,” said a Stanford student, who asked that her name be withheld due to disciplinary action she is facing at her university for participating in the protest encampment. “As a student, I just felt like there’s so much knowledge and experience around me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday night in Oakland, about 70 artists — mostly in their 20s and 30s, with some as old as 80 — filed into a small storefront near Fruitvale BART. In attendance were Stanford students who had participated in the pro-Palestinian campus encampment, protest drummers, political poets, documentary filmmakers, muralists and choreographers. Emory Douglas, graphic artist for the Black Panther Party, joined the gathering too.\u003c/p>\n\u003cp>As Israel’s U.S.-backed bombardment of Gaza continues, these creatives gathered at the \u003ca href=\"https://www.instagram.com/oaklandliberationcenter/\">Oakland Liberation Center\u003c/a>, an education and event space run by the \u003ca href=\"https://pslweb.org/\">Party for Socialism and Liberation\u003c/a>, for the first exploratory Bay Area meeting of Artists Against Apartheid. The goal of Artists Against Apartheid, a loose national coalition, is to use creative work to shift dehumanizing narratives about Palestinians, and support their resistance against oppression.\u003c/p>\n\u003cp>Curator and arts educator Nora Boyd, one of the volunteers behind the event, kicked off the evening by sharing her observations about the structure of the art world, and how it supports the interests of the ultra-wealthy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Like many of you, I’ve been involved in the struggle for Palestinian liberation for years,” she said. “And I think a lot of us have felt this: We just want to connect the inspiring and fulfilling work that we do in the arts with the justice, urgency and absolute rightness of this struggle. … We have these voices as artists, but we don’t have the spaces to use them for what we want.”\u003c/p>\n\u003cp>Boyd shared some background information about how Artists Against Apartheid began. Last year, at an activist hub in New York called The People’s Forum, artists penned an \u003ca href=\"https://form.typeform.com/to/rREds3Hn?typeform-source=againstapartheid.art\">open letter\u003c/a> pledging to use their work to support Palestinians, who “face brutal and humiliating conditions” that have “earned Israel the designation as an apartheid state by human rights organizations across the globe,” the letter reads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over 15,000 artists — including celebrities like Kehlani, Pink Floyd’s Roger Waters and Lil Yachty — have since signed the letter, and nine regional chapters of the group have formed in Los Angeles, Chicago and other U.S. cities.\u003c/p>\n\u003cp>A musician and organizer from \u003ca href=\"https://palestinianyouthmovement.com/\">Palestinian Youth Movement\u003c/a>, who identified themself as Salma T., spoke to the group about how creative work in the West is treated as a product for consumption, and often viewed as separate from social movements.\u003c/p>\n\u003cp>Art is “the quickest way to reach people because you take these complex ideas, these political analyses, these big positions, and you are synthesizing in a way that makes people feel,” said Salma. “And that’s a really, really powerful thing. … I’m really proud and excited to be part of the inception of this space here in the Bay for us to organize together.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artists then grabbed snacks, colored pencils and construction paper and split into groups of five to eight people. Prompts appeared on the projector, and people of different ages, ethnicities and artistic disciplines discussed how the witnessing of mass killings of Palestinian civilians has shifted the way they view their role as artists.\u003c/p>\n\u003cp>Indeed, Artists Against Apartheid met during a devastating week of news from Gaza. On Monday, an \u003ca href=\"https://www.pbs.org/newshour/show/israeli-attack-on-tent-camp-outside-hospital-in-gaza-kills-at-least-4-injures-dozens\">Israeli airstrike hit a tent camp at a hospital\u003c/a> where displaced Gazans were sheltering, and footage spread on social media of four people burning alive. Since Hamas’ Oct. 7, 2023 attack that killed 1,200 Israelis, according to the Israel’s ministry of foreign affairs, the death toll in Gaza has surpassed 42,000 people, mostly women and children, according to Gaza’s health ministry. Recently, reports have surfaced of \u003ca href=\"https://www.cnn.com/2024/10/16/middleeast/israeli-incursion-northern-gaza-stray-dogs-eating-bodies-intl/index.html\">mass starvation and stray dogs eating decomposing bodies\u003c/a> in the streets of Gaza.\u003c/p>\n\u003cp>“It’s been over a year since Oct. 7, but this genocide has been happening for many, many years,” said jo “love/speak” cruz of the hip-hop collective Audiopharmacy. “As someone who comes from a place that has experienced colonization itself, the Philippines, I feel like [it’s important to] not only to raise awareness, but to really activate our communities to push policies and elect people that are really going to understand that it is through this liberation of Palestine that we’re all going to be able to be free.”\u003c/p>\n\u003cfigure id=\"attachment_13966739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas addresses the crowd at the Artists Against Apartheid meeting on Oct. 15, 2024 in Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emory Douglas, who served as the Black Panthers’ Minister of Culture, read to the group from his \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a>, a collection of 12 guidelines he wrote for young artists. His advice included to “create art of social concerns that even a child can understand” and “be prepared if necessary to defend and explain what you communicate in your art.”\u003c/p>\n\u003cp>Douglas was one of 50 artists and organizers who recently debuted a collaborative mural connecting social struggles in Oakland to those of Gaza and the West Bank. In an interview, he said that in the past year, he’s ramped up work commenting on the Palestinian struggle. “The focal point being ‘made in America’ in relationship to the bombs and everything that’s happening,” he said.\u003c/p>\n\u003cp>Looking out approvingly onto the young people engrossed in animated discussions, Douglas added, “They continue to be inspired to be informed, enlightened. And they’ll figure it out as they evolve.”\u003c/p>\n\u003cp>As breakout groups wrapped up, artists shared out to the larger group. Some talked about ideas for art protests, while others strategized around sharing skills. Organizers laid out plans to meet monthly and invited attendees to join a Telegram group chat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being in a warm, supportive, multigenerational space dedicated to learning and to liberation, truly, I could just feel the optimism,” said a Stanford student, who asked that her name be withheld due to disciplinary action she is facing at her university for participating in the protest encampment. “As a student, I just felt like there’s so much knowledge and experience around me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "john-calloway-buffalo-soldier-latin-afro-filipino-jazz",
"title": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway",
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"headTitle": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway | KQED",
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"content": "\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uO7fWpgmZsI\u003c/p>\n\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\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/uO7fWpgmZsI'\n title='//www.youtube.com/embed/uO7fWpgmZsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland’s Kingmakers Music Presents the ‘Black Love’ Album",
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"content": "\u003cp>If you listen closely to certain albums, you can identify their central concept in one standout song or verse — or even one well-written set of bars.\u003c/p>\n\u003cp>On the title track from the compilation album \u003cem>Black Love\u003c/em>, released by Oakland label \u003ca href=\"https://www.kingmakersmusic.com/\" target=\"_blank\" rel=\"noopener\">Kingmakers Music\u003c/a>, Oakland MC and producer \u003ca href=\"https://www.instagram.com/zo1love/\" target=\"_blank\" rel=\"noopener\">Zo1\u003c/a> does just that. The album has \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">a listening party in Oakland on Thursday, Oct. 17\u003c/a>, with a broader public release on Friday, Oct. 18.\u003c/p>\n\u003cp>Over smooth melodies, cold claps and a bass line that deserves to be played in an Oldsmobile Delta 88 with slap in the back, Zo1 raps the names of community members — educators, activists and advisors — who’ve poured into the health and well-being of him and his peers. He ends his verse speaking about the collection of artists he’s grown up with, many of whom are featured on the \u003cem>Black Love \u003c/em>album.\u003c/p>\n\u003cfigure id=\"attachment_13966602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg\" alt=\"MC Zo1 at the Grand Lake Theatre's Oakland International Film Festival.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Zo1 at the Grand Lake Theatre’s Oakland International Film Festival. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comparing he and his peers’ maturation to that of a Jedi knight, Zo1 raps, \u003cem>“We was young padawans and now we senseis / \u003c/em>\u003cem>Trying to give the youngins a layup so they can fillet.”\u003c/em>\u003c/p>\n\u003cp>In a matter of a few words, Zo1 conveys how far he and the young artists in his circle have come, and how they’re now prepared to assist the next generation in cooking up something special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A product of the Oakland youth performance group \u003ca href=\"https://proud2beblack.org/\" target=\"_blank\" rel=\"noopener\">Young, Gifted and Black\u003c/a> (YGB), 24-year-old Zo1 has rocked stages for over a decade. As the driving force behind this project, Zo1 brought together other YGB alums and artistic colleagues they grew up with to create the 16-track project.\u003c/p>\n\u003cp>Artists involved in the album include \u003ca href=\"https://www.instagram.com/_amenauset/\" target=\"_blank\" rel=\"noopener\">Amen Auset\u003c/a>, \u003ca href=\"https://www.instagram.com/basi.sts/\" target=\"_blank\" rel=\"noopener\">Basi\u003c/a>, \u003ca href=\"https://www.instagram.com/twisted.cant.fix.it/\" target=\"_blank\" rel=\"noopener\">Ajai Kasim\u003c/a> and \u003ca href=\"https://www.instagram.com/sinspaceq/\" target=\"_blank\" rel=\"noopener\">SinQ\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/kevchoice/\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a> and \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener\">Afterthought\u003c/a>. Produced by \u003ca href=\"https://www.instagram.com/zoranwtf/\" target=\"_blank\" rel=\"noopener\">Zoran Beats\u003c/a>, the project also features \u003ca href=\"https://www.instagram.com/42k.lil/\" target=\"_blank\" rel=\"noopener\">42k Lil\u003c/a>, \u003ca href=\"https://www.instagram.com/itsjust_a_m_a_r_i/\" target=\"_blank\" rel=\"noopener\">A M A R I\u003c/a>, and \u003ca href=\"https://www.instagram.com/ncolemusic/\" target=\"_blank\" rel=\"noopener\">N’Cole\u003c/a>. Oakland’s \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a>, whose track dedicated to self-empowerment, “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself\u003c/a>,” has been making its rounds since it debuted earlier this summer, is also on the album. And Bay Area-based vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener\">Jada Imani\u003c/a>, who’s worked tirelessly to spread the story of the late \u003ca href=\"https://www.kqed.org/arts/13954520/remembering-zoe-reidy-watts-oakland-artist-poet\" target=\"_blank\" rel=\"noopener\">Zoe Reidy Watts,\u003c/a> who was killed in \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\" target=\"_blank\" rel=\"noopener\">an alleged domestic violence incident\u003c/a> in March of this year, is featured as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p6Peptw_AXA\u003c/p>\n\u003cp>A feature that speaks to the spirit of the album as a whole comes from veteran MC \u003ca href=\"https://www.instagram.com/spearofthenation/\" target=\"_blank\" rel=\"noopener\">Spear of the Nation\u003c/a>, also known as Baba Sizwe.\u003c/p>\n\u003cp>“When that beat came on,” says Zo1, “I was like, ‘This is \u003cem>real hip-hop\u003c/em>,’ and I know Baba Sizwe comes with the bars every single time.” So Zo1, who served as the A&R for this project, saw it fit that Baba Sizwe would be featured on the track, ultimately titled “Ubuntu.”\u003c/p>\n\u003cp>“That’s a value that he instilled into a lot of us,” says Zo1, referring to Ubuntu, a principle that originates from southern Africa, meaning, “I am because we are. We are because I am. May the circle be unbroken.”\u003c/p>\n\u003cp>“He’s been saying that for ages and ages,” says Zo1.\u003c/p>\n\u003cfigure id=\"attachment_13966603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg\" alt=\"42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the project there’s deep mobb music-like bass lines, flowing melodies and high lyrical content, all quilted together with excerpts of conversations with community pillars discussing the concept of love.\u003c/p>\n\u003cp>On the intro to the song “Step By Step,” \u003ca href=\"https://www.instagram.com/mrdavis510/\" target=\"_blank\" rel=\"noopener\">Hodari Davis\u003c/a> says, “I think that Black love is hard.” A renowned educator and founding member of \u003ca href=\"https://lifeisliving.youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Life Is Living\u003c/a>, Davis continues: “We suffer from internalized racism, so it’s hard for us to love ourselves. We struggle with interpersonal racism, and genderism, and sexism, so it’s hard to love each other.”\u003c/p>\n\u003cp>On a later track titled “Love Noir,” devout music educator and acclaimed musician \u003ca href=\"https://www.instagram.com/cavamenzies/\" target=\"_blank\" rel=\"noopener\">Cava Menzies\u003c/a> says, “Love is my favorite subject. To be in the presence of love is to be in the presence of God.” As she continues the poetic monologue, she reminds the listener that “love has no agenda, it seeks only itself. It overcomes all obstacles and transforms time and space.”\u003c/p>\n\u003cp>[aside postID='arts_13954520']Zo1 says he himself realized a few things about love while making this project.\u003c/p>\n\u003cp>“I learned that that love comes with grace,” he says during a recent phone call. “Love comes with patience and with practice,” adding that without “tough love” some things just aren’t possible.\u003c/p>\n\u003cp>In working with so many artists, Zo1 also learned that conflicting concepts and incongruous input can make the process take a little longer — and can even lead to re-recording songs.\u003c/p>\n\u003cp>Some studio sessions were held in a garden in East Oakland; others in an Airbnb in Los Angeles. Still others were done in Zo1’s bedroom. It took a while, says Zo1, but it was done on the strength of love.\u003c/p>\n\u003cp>“Love really fueled us to get this done in the right way,” says Zo1. “Love is definitely a process. To love something, it takes a minute. But it’s all worth it because of that love, you know?”\u003c/p>\n\u003cp>A project dedicated to Black love, fueled by Black love; may the circle be unbroken.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Love’ presented by Kingmakers Music will be released on Friday, Oct. 18, with a prerelease listening party on Thursday, Oct. 17 at Koo Labs in Oakland. \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" 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>If you listen closely to certain albums, you can identify their central concept in one standout song or verse — or even one well-written set of bars.\u003c/p>\n\u003cp>On the title track from the compilation album \u003cem>Black Love\u003c/em>, released by Oakland label \u003ca href=\"https://www.kingmakersmusic.com/\" target=\"_blank\" rel=\"noopener\">Kingmakers Music\u003c/a>, Oakland MC and producer \u003ca href=\"https://www.instagram.com/zo1love/\" target=\"_blank\" rel=\"noopener\">Zo1\u003c/a> does just that. The album has \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">a listening party in Oakland on Thursday, Oct. 17\u003c/a>, with a broader public release on Friday, Oct. 18.\u003c/p>\n\u003cp>Over smooth melodies, cold claps and a bass line that deserves to be played in an Oldsmobile Delta 88 with slap in the back, Zo1 raps the names of community members — educators, activists and advisors — who’ve poured into the health and well-being of him and his peers. He ends his verse speaking about the collection of artists he’s grown up with, many of whom are featured on the \u003cem>Black Love \u003c/em>album.\u003c/p>\n\u003cfigure id=\"attachment_13966602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg\" alt=\"MC Zo1 at the Grand Lake Theatre's Oakland International Film Festival.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Zo1 at the Grand Lake Theatre’s Oakland International Film Festival. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comparing he and his peers’ maturation to that of a Jedi knight, Zo1 raps, \u003cem>“We was young padawans and now we senseis / \u003c/em>\u003cem>Trying to give the youngins a layup so they can fillet.”\u003c/em>\u003c/p>\n\u003cp>In a matter of a few words, Zo1 conveys how far he and the young artists in his circle have come, and how they’re now prepared to assist the next generation in cooking up something special.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A product of the Oakland youth performance group \u003ca href=\"https://proud2beblack.org/\" target=\"_blank\" rel=\"noopener\">Young, Gifted and Black\u003c/a> (YGB), 24-year-old Zo1 has rocked stages for over a decade. As the driving force behind this project, Zo1 brought together other YGB alums and artistic colleagues they grew up with to create the 16-track project.\u003c/p>\n\u003cp>Artists involved in the album include \u003ca href=\"https://www.instagram.com/_amenauset/\" target=\"_blank\" rel=\"noopener\">Amen Auset\u003c/a>, \u003ca href=\"https://www.instagram.com/basi.sts/\" target=\"_blank\" rel=\"noopener\">Basi\u003c/a>, \u003ca href=\"https://www.instagram.com/twisted.cant.fix.it/\" target=\"_blank\" rel=\"noopener\">Ajai Kasim\u003c/a> and \u003ca href=\"https://www.instagram.com/sinspaceq/\" target=\"_blank\" rel=\"noopener\">SinQ\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/kevchoice/\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a> and \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener\">Afterthought\u003c/a>. Produced by \u003ca href=\"https://www.instagram.com/zoranwtf/\" target=\"_blank\" rel=\"noopener\">Zoran Beats\u003c/a>, the project also features \u003ca href=\"https://www.instagram.com/42k.lil/\" target=\"_blank\" rel=\"noopener\">42k Lil\u003c/a>, \u003ca href=\"https://www.instagram.com/itsjust_a_m_a_r_i/\" target=\"_blank\" rel=\"noopener\">A M A R I\u003c/a>, and \u003ca href=\"https://www.instagram.com/ncolemusic/\" target=\"_blank\" rel=\"noopener\">N’Cole\u003c/a>. Oakland’s \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a>, whose track dedicated to self-empowerment, “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself\u003c/a>,” has been making its rounds since it debuted earlier this summer, is also on the album. And Bay Area-based vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener\">Jada Imani\u003c/a>, who’s worked tirelessly to spread the story of the late \u003ca href=\"https://www.kqed.org/arts/13954520/remembering-zoe-reidy-watts-oakland-artist-poet\" target=\"_blank\" rel=\"noopener\">Zoe Reidy Watts,\u003c/a> who was killed in \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\" target=\"_blank\" rel=\"noopener\">an alleged domestic violence incident\u003c/a> in March of this year, is featured as well.\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/p6Peptw_AXA'\n title='//www.youtube.com/embed/p6Peptw_AXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature that speaks to the spirit of the album as a whole comes from veteran MC \u003ca href=\"https://www.instagram.com/spearofthenation/\" target=\"_blank\" rel=\"noopener\">Spear of the Nation\u003c/a>, also known as Baba Sizwe.\u003c/p>\n\u003cp>“When that beat came on,” says Zo1, “I was like, ‘This is \u003cem>real hip-hop\u003c/em>,’ and I know Baba Sizwe comes with the bars every single time.” So Zo1, who served as the A&R for this project, saw it fit that Baba Sizwe would be featured on the track, ultimately titled “Ubuntu.”\u003c/p>\n\u003cp>“That’s a value that he instilled into a lot of us,” says Zo1, referring to Ubuntu, a principle that originates from southern Africa, meaning, “I am because we are. We are because I am. May the circle be unbroken.”\u003c/p>\n\u003cp>“He’s been saying that for ages and ages,” says Zo1.\u003c/p>\n\u003cfigure id=\"attachment_13966603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg\" alt=\"42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the project there’s deep mobb music-like bass lines, flowing melodies and high lyrical content, all quilted together with excerpts of conversations with community pillars discussing the concept of love.\u003c/p>\n\u003cp>On the intro to the song “Step By Step,” \u003ca href=\"https://www.instagram.com/mrdavis510/\" target=\"_blank\" rel=\"noopener\">Hodari Davis\u003c/a> says, “I think that Black love is hard.” A renowned educator and founding member of \u003ca href=\"https://lifeisliving.youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Life Is Living\u003c/a>, Davis continues: “We suffer from internalized racism, so it’s hard for us to love ourselves. We struggle with interpersonal racism, and genderism, and sexism, so it’s hard to love each other.”\u003c/p>\n\u003cp>On a later track titled “Love Noir,” devout music educator and acclaimed musician \u003ca href=\"https://www.instagram.com/cavamenzies/\" target=\"_blank\" rel=\"noopener\">Cava Menzies\u003c/a> says, “Love is my favorite subject. To be in the presence of love is to be in the presence of God.” As she continues the poetic monologue, she reminds the listener that “love has no agenda, it seeks only itself. It overcomes all obstacles and transforms time and space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zo1 says he himself realized a few things about love while making this project.\u003c/p>\n\u003cp>“I learned that that love comes with grace,” he says during a recent phone call. “Love comes with patience and with practice,” adding that without “tough love” some things just aren’t possible.\u003c/p>\n\u003cp>In working with so many artists, Zo1 also learned that conflicting concepts and incongruous input can make the process take a little longer — and can even lead to re-recording songs.\u003c/p>\n\u003cp>Some studio sessions were held in a garden in East Oakland; others in an Airbnb in Los Angeles. Still others were done in Zo1’s bedroom. It took a while, says Zo1, but it was done on the strength of love.\u003c/p>\n\u003cp>“Love really fueled us to get this done in the right way,” says Zo1. “Love is definitely a process. To love something, it takes a minute. But it’s all worth it because of that love, you know?”\u003c/p>\n\u003cp>A project dedicated to Black love, fueled by Black love; may the circle be unbroken.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Love’ presented by Kingmakers Music will be released on Friday, Oct. 18, with a prerelease listening party on Thursday, Oct. 17 at Koo Labs in Oakland. \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’",
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"content": "\u003cp>\u003cem>“They told the people they could dance a new world into being…”\u003cbr>\n— ‘Lame Deer, Seeker of Visions,’ by John Fire Lame Deer and Richard Erdoes\u003c/em>\u003c/p>\n\u003cp>In 1889, the Ghost Dance movement spread among a number of Native American nations across the Western United States. Originating as far back as 1869 with the Northern Paiute, the Ghost (or Spirit) Dance was a ritual and belief system promising a future of land properly restored to its original inhabitants.\u003c/p>\n\u003cp>The Ghost Dance was adopted by the Lakota in early 1890, and became central to their resistance movement. It was also used as a supposed justification, on the part of the United States Army, for the massacre at Wounded Knee. Despite the horror of that event, the Ghost Dance lived on, notably resurfacing during the 1970s AIM movement.\u003c/p>\n\u003cfigure id=\"attachment_13966561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dany Benitez (Coyote) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 100 years from the rise of the Ghost Dance, an entirely new and electronic music-based dance movement emerged. House music has now made its way around the world, uniting ravers, club kids and musical innovators — a high-energy scene that playwright and producer Jerome Joseph Gentes cites as inspiration for his time-traveling, musical theatre workshop production \u003cem>GhostRave\u003c/em>, playing Oct. 17–27 at Magic Theatre.\u003c/p>\n\u003cp>A descendant of the Fort Belknap A’aninin and the Standing Rock Lakota, Gentes currently resides in Palm Springs. But it’s his time in the Bay Area in the 1990s that he draws upon for \u003cem>GhostRave\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in the Bay Area, in the heyday of South of Market club life, Gentes says, “and I thought, wow…If we could just go back for one night. Wouldn’t it be great?”\u003c/p>\n\u003cfigure id=\"attachment_13966562\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg\" alt=\"\" width=\"1368\" height=\"2000\" class=\"size-full wp-image-13966562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1020x1491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1051x1536.jpg 1051w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga (Chayson) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After meeting Brandon M.P. Roberts during a Palm Springs production of the Nathan Hall-penned kink opera \u003cem>Unbound\u003c/em> (which Gentes produced), the two quickly recognized kindred artistic inclinations, and began brainstorming ways to create their own theatrical experience in a warehouse club setting. With Gentes as playwright, lyricist and director, and Roberts as composer, sound designer and DJ, each brings their skills and passion to the project.\u003c/p>\n\u003cfigure id=\"attachment_13966745\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg\" alt=\"\" width=\"810\" height=\"1080\" class=\"size-full wp-image-13966745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-768x1024.jpg 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">Yaadi Erica Richardson rehearses with Brandon M.P. Roberts for ‘GhostRave.’ \u003ccite>(Courtesy TigerBear Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring earnest but self-destructive indigenous club kid Chayson (played by W. Fran Astorga), \u003cem>GhostRave\u003c/em> kicks off in a nightclub, set to resemble the historic San Francisco queer establishment \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">The Stud\u003c/a>. As an immersive show, \u003cem>GhostRave\u003c/em>’s audience members can walk around the space, dance with each other and perhaps even take part in the scene as Roberts spins tracks. \u003c/p>\n\u003cp>But what begins as a messy night out for Chayson becomes an unexpected jaunt to 1890 and then to 2090, thanks to some interference from Coyote (Dany Benitez). While traveling through time — a witness to both a Ghost Dance ritual and to a post-Earth migration — Chayson learns to value themselves better, and value the earth, not only physically but psychically. What starts out as mere desire to return to a familiar place becomes a deeper yearning to actively embrace it.\u003c/p>\n\u003cfigure id=\"attachment_13966558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg\" alt=\"\" width=\"2000\" height=\"1299\" class=\"size-full wp-image-13966558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1920x1247.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christina Kruszewska, Skylar Rose Adams and Meg Crosby-Jolliffe in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing about the Ghost Dance is it happened historically at the moment where the frontier had so completely closed, that the fate of Natives was sealed from that point forward,” Gentes says. “So I guess I was sort of saying ‘How do we deal with accepting that we may lose \u003cem>this\u003c/em> planet and then go forward?’ Can the energies of hope and action be brought to life again through a theater piece? In a way, we’re modernizing the idea that was lurking at the bottom of the Ghost Dance as well.”\u003c/p>\n\u003cp>While the actual Ghost Dance will not be portrayed onstage out of respect for its cultural significance, almost every character in the piece does eventually express themselves through dance and song (it is a musical, after all), the creation process of which has been a journey unto itself.\u003c/p>\n\u003cp>As the composer, Roberts has been creating the essential “sound palette” of the show. The task has involved raiding a collection of his father’s 1990s CDs, exploring ways of creating “the rhythms of the nightclub” with 19th century instruments and a sojourn in the desert for sonic and spiritual inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13966559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg\" alt=\"\" width=\"2000\" height=\"1289\" class=\"size-full wp-image-13966559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1536x990.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1920x1237.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga and Justin P. Lopez in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really trying to identify what these characters sound like. For some of the characters, what do they listen to, you know, when we’re up in a space station, what music do they choose to put on?”\u003c/p>\n\u003cp>Meanwhile, Gentes has been realizing the not-so-subtle influence of the current political climate — and of climate change — on his characters, and on his own motivations for exploring their perspectives.\u003c/p>\n\u003cp>“One of the things I wanted to play with was this moment where the land back movement is strong and vocal…when we’re about to lose the entire planet, anyway,” he says. “I thought, what would it be like when we have to talk about land back, and we’re not on this planet anymore, as natives? And I realized that’s a really great question I would love to pursue for a long time to come.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>GhostRave plays Oct. 17–27, 2024, at Magic Theatre in San Francisco. \u003ca href=\"https://magictheatre.org/calendar/ghostrave\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“They told the people they could dance a new world into being…”\u003cbr>\n— ‘Lame Deer, Seeker of Visions,’ by John Fire Lame Deer and Richard Erdoes\u003c/em>\u003c/p>\n\u003cp>In 1889, the Ghost Dance movement spread among a number of Native American nations across the Western United States. Originating as far back as 1869 with the Northern Paiute, the Ghost (or Spirit) Dance was a ritual and belief system promising a future of land properly restored to its original inhabitants.\u003c/p>\n\u003cp>The Ghost Dance was adopted by the Lakota in early 1890, and became central to their resistance movement. It was also used as a supposed justification, on the part of the United States Army, for the massacre at Wounded Knee. Despite the horror of that event, the Ghost Dance lived on, notably resurfacing during the 1970s AIM movement.\u003c/p>\n\u003cfigure id=\"attachment_13966561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dany Benitez (Coyote) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 100 years from the rise of the Ghost Dance, an entirely new and electronic music-based dance movement emerged. House music has now made its way around the world, uniting ravers, club kids and musical innovators — a high-energy scene that playwright and producer Jerome Joseph Gentes cites as inspiration for his time-traveling, musical theatre workshop production \u003cem>GhostRave\u003c/em>, playing Oct. 17–27 at Magic Theatre.\u003c/p>\n\u003cp>A descendant of the Fort Belknap A’aninin and the Standing Rock Lakota, Gentes currently resides in Palm Springs. But it’s his time in the Bay Area in the 1990s that he draws upon for \u003cem>GhostRave\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in the Bay Area, in the heyday of South of Market club life, Gentes says, “and I thought, wow…If we could just go back for one night. Wouldn’t it be great?”\u003c/p>\n\u003cfigure id=\"attachment_13966562\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg\" alt=\"\" width=\"1368\" height=\"2000\" class=\"size-full wp-image-13966562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1020x1491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1051x1536.jpg 1051w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga (Chayson) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After meeting Brandon M.P. Roberts during a Palm Springs production of the Nathan Hall-penned kink opera \u003cem>Unbound\u003c/em> (which Gentes produced), the two quickly recognized kindred artistic inclinations, and began brainstorming ways to create their own theatrical experience in a warehouse club setting. With Gentes as playwright, lyricist and director, and Roberts as composer, sound designer and DJ, each brings their skills and passion to the project.\u003c/p>\n\u003cfigure id=\"attachment_13966745\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg\" alt=\"\" width=\"810\" height=\"1080\" class=\"size-full wp-image-13966745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-768x1024.jpg 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">Yaadi Erica Richardson rehearses with Brandon M.P. Roberts for ‘GhostRave.’ \u003ccite>(Courtesy TigerBear Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring earnest but self-destructive indigenous club kid Chayson (played by W. Fran Astorga), \u003cem>GhostRave\u003c/em> kicks off in a nightclub, set to resemble the historic San Francisco queer establishment \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">The Stud\u003c/a>. As an immersive show, \u003cem>GhostRave\u003c/em>’s audience members can walk around the space, dance with each other and perhaps even take part in the scene as Roberts spins tracks. \u003c/p>\n\u003cp>But what begins as a messy night out for Chayson becomes an unexpected jaunt to 1890 and then to 2090, thanks to some interference from Coyote (Dany Benitez). While traveling through time — a witness to both a Ghost Dance ritual and to a post-Earth migration — Chayson learns to value themselves better, and value the earth, not only physically but psychically. What starts out as mere desire to return to a familiar place becomes a deeper yearning to actively embrace it.\u003c/p>\n\u003cfigure id=\"attachment_13966558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg\" alt=\"\" width=\"2000\" height=\"1299\" class=\"size-full wp-image-13966558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1920x1247.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christina Kruszewska, Skylar Rose Adams and Meg Crosby-Jolliffe in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing about the Ghost Dance is it happened historically at the moment where the frontier had so completely closed, that the fate of Natives was sealed from that point forward,” Gentes says. “So I guess I was sort of saying ‘How do we deal with accepting that we may lose \u003cem>this\u003c/em> planet and then go forward?’ Can the energies of hope and action be brought to life again through a theater piece? In a way, we’re modernizing the idea that was lurking at the bottom of the Ghost Dance as well.”\u003c/p>\n\u003cp>While the actual Ghost Dance will not be portrayed onstage out of respect for its cultural significance, almost every character in the piece does eventually express themselves through dance and song (it is a musical, after all), the creation process of which has been a journey unto itself.\u003c/p>\n\u003cp>As the composer, Roberts has been creating the essential “sound palette” of the show. The task has involved raiding a collection of his father’s 1990s CDs, exploring ways of creating “the rhythms of the nightclub” with 19th century instruments and a sojourn in the desert for sonic and spiritual inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13966559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg\" alt=\"\" width=\"2000\" height=\"1289\" class=\"size-full wp-image-13966559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1536x990.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1920x1237.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga and Justin P. Lopez in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really trying to identify what these characters sound like. For some of the characters, what do they listen to, you know, when we’re up in a space station, what music do they choose to put on?”\u003c/p>\n\u003cp>Meanwhile, Gentes has been realizing the not-so-subtle influence of the current political climate — and of climate change — on his characters, and on his own motivations for exploring their perspectives.\u003c/p>\n\u003cp>“One of the things I wanted to play with was this moment where the land back movement is strong and vocal…when we’re about to lose the entire planet, anyway,” he says. “I thought, what would it be like when we have to talk about land back, and we’re not on this planet anymore, as natives? And I realized that’s a really great question I would love to pursue for a long time to come.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>GhostRave plays Oct. 17–27, 2024, at Magic Theatre in San Francisco. \u003ca href=\"https://magictheatre.org/calendar/ghostrave\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>This Sept. 15 to Oct. 15, NPR Music celebrates artists from all corners of Latinidad with an ‘El Tiny’ takeover.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://video.kqed.org/video/sheila-e-performs-glamorous-life/\">Sheila E.\u003c/a> is a portrait of motion.\u003c/p>\n\u003cp>Not just the movement of her body as one of the world’s most recognized drummers, but also as a versatile musician who glides easily from genre to genre with the ease of a master. For her time behind the Desk, she assembled a team of musicians to play tracks from her first ever salsa album \u003cem>Bailar\u003c/em>.\u003c/p>\n\u003cp>From the first notes of “Rumba Percussion Jam,” Sheila E.’s bona-fides performing true \u003cem>rumbera \u003c/em>(traditional Afro-Cuban drumming and singing) are on full display with her conga chops. The entire set is a reflection of her long standing ability to meld Afro-Caribbean, jazz and funk into a danceable celebration that caps off with shots of tequila for her final track “Playa Tequila.”\u003c/p>\n\u003cp>Any amount of time spent with Sheila E. is a reminder that high caliber musicianship is always first and goes down easier when presented with the joyous energy of an icon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GjZ2XqYzPTI\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Rumba Percussion Jam”\u003c/li>\n\u003cli>“Mi Amor”\u003c/li>\n\u003cli>“The Way That You Do”\u003c/li>\n\u003cli>“Possibilities”\u003c/li>\n\u003cli>“Playa Tequila”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Sheila Escovedo: lead vocals, percussion\u003c/li>\n\u003cli>Raymond McKinley: bass, tour management, production management\u003c/li>\n\u003cli>Myke Davison: guitar\u003c/li>\n\u003cli>Bertron Curtis: keys\u003c/li>\n\u003cli>Rose Ann Dimalanta: keys\u003c/li>\n\u003cli>Daniel Rodriguez: drums\u003c/li>\n\u003cli>Fausto Cuevas: percussion\u003c/li>\n\u003cli>Johny Ayquipa: trumpet\u003c/li>\n\u003cli>Percy Recavarren: trombone\u003c/li>\n\u003cli>Lynn Mabry: vocals\u003c/li>\n\u003cli>Rebecca Jade: vocals\u003c/li>\n\u003cli>Debi Nova: vocals\u003c/li>\n\u003cli>Jean Rodriguez: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Felix Contreras\u003c/li>\n\u003cli>Director/Editor: Maia Stern\u003c/li>\n\u003cli>Audio Technical Director: Josephine Nyounai\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Maia Stern, Joshua Bryant, Kara Frame, Alanté Serene\u003c/li>\n\u003cli>Audio Engineer: Ted Mebane\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Photographer: Michael Zamora\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Cills, Josh Newell\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\n",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"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.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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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. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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",
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