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"title": "Bay Area Artists Raise $13,000 for Palestinian Children’s Relief Fund",
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"content": "\u003cp>“All my homies throw down for Palestine,” said Palestinian-Lebanese American singer \u003ca href=\"https://www.instagram.com/camelliaboutrosmusic/\">Camellia Boutros\u003c/a> on stage at Oakland’s Continental Club on Oct. 29. “Everyone in this audience here today, even if we don’t know each other, we’re all friends and family because we’re all here sharing space, sharing joy and love and grief and anger and in solidarity with Palestine. And it’s so meaningful.”\u003c/p>\n\u003cp>As Boutros and her band launched into an up-tempo, psych-rock version of the Palestinian folk song “Wein a Ramallah,” which the musician described as an international symbol of resistance, the multicultural audience of nearly 500 20- and 30-somethings clapped along and danced. Yet there were also tears and heartbroken embraces at the For Palestine fundraiser, which collected $13,000 for the charity \u003ca href=\"https://www.pcrf.net/\">Palestinian Children’s Relief Fund\u003c/a>, co-organizer Janan Barance told KQED.\u003c/p>\n\u003cp>[aside postid='arts_13937170']For the past three weeks, thousands of Bay Area residents have taken to the streets to protest Israel’s attacks on Gaza, which have \u003ca href=\"https://apnews.com/article/israel-hamas-war-news-10-29-2023-de1a7d660ba2f6d80b3d7aeaae5bb0f3\">killed over 8,000 Palestinians\u003c/a> — many of them women and children. While supporters of Israel maintain it has a right to defend itself after an attack by Hamas militants on Oct. 7 that killed 1,400 Israeli civilians, with 200 more taken hostage, a U.N. expert and other observers say Israel’s response amounts to a “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">mass ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>As global calls for a ceasefire and humanitarian aid to Gaza continue to mount, Sunday’s \u003ca href=\"https://www.instagram.com/p/Cy8vG7MrTjV/\">For Palestine fundraiser\u003c/a> was Bay Area artists’ largest show in recent weeks of solidarity with Palestinians, who human rights groups like Amnesty International say have been \u003ca href=\"https://www.amnesty.org/en/latest/campaigns/2022/02/israels-system-of-apartheid/\">living under apartheid conditions\u003c/a> for decades.\u003c/p>\n\u003cp>The For Palestine fundraiser followed a long tradition in Bay Area activism of cross-cultural solidarity against colonialism. In the decades since the Black Panthers, Third World Liberation Front and other social movements of the 1960s, local artists like filmmaker Boots Riley, muralist Refa One and rapper Equipto have echoed that message. Following in their footsteps on stage at the Continental Club Sunday, a younger generation of performers connected the struggles of Palestinians, the original Ohlone inhabitants of the Bay Area and Black Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is occupied land,” said Palestinian American poet \u003ca href=\"https://www.instagram.com/yaffasutopia/\">Mx. Yaffa\u003c/a>, an organizer at the \u003ca href=\"https://www.themasgd.org/\">Muslim Alliance for Sexual and Gender Diversity\u003c/a>. “This has been Palestine for over 400 years.”\u003c/p>\n\u003cfigure id=\"attachment_13937232\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg\" alt=\"Two Palestinian drag performers wearing feminine clothing and makeup speak on stage.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mama Ganuush (left) and Mx. Yaffa speak at For Palestine, a fundraiser in support of Palestinian Children’s Relief Fund, at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The state that is capitalizing on the killing and imprisonment of Black people is capitalizing and benefiting on the killing of the Palestinian people as well,” said Oakland experimental musician \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">Aroma\u003c/a>, who organized the For Palestine fundraiser with Barance and fellow musician \u003ca href=\"https://www.instagram.com/astu.music/\">Astu\u003c/a>. “The apathy towards their death and their pain and their outcries, the gaslighting that they experience … I feel like I resonate with that as a Black person.”\u003c/p>\n\u003cp>On the screen behind performers, photos flashed of Bay Area protesters holding signs of Mexican, Ukrainian and Jewish solidarity with Palestinians. Barance, who is Palestinian American, said she’s never seen so much multicultural support for Palestinian rights until this month. “We always say people are liberal until it comes to Palestine,” she said of people’s reluctance to comment on the issue.\u003c/p>\n\u003cfigure id=\"attachment_13937234\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Aroma, Janan Barance and Astu, the organizers of the For Palestine event, pose for a portrait at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, mainstream American media has long described Israel’s blockade of Gaza and occupation of the West Bank as a \u003ca href=\"https://www.theguardian.com/world/2023/oct/11/israel-palestine-war-biden-zelenskiy\">conflict\u003c/a> with two equal sides. Human rights groups, meanwhile, have warned that Israel’s systemic displacement, segregation and restriction of voting rights of Palestinians amounts to apartheid. Human Rights Watch has called Gaza “\u003ca href=\"https://www.hrw.org/news/2022/06/14/gaza-israels-open-air-prison-15\">Israel’s open-air prison\u003c/a>” due to poor living conditions and heavy travel restrictions, and since Oct. 7, Israel has \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">blocked aid\u003c/a> and \u003ca href=\"https://www.aljazeera.com/news/2023/10/11/gaza-faces-humanitarian-catastrophe-as-sole-power-plant-runs-out-of-fuel\">cut off electricity\u003c/a> and \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">internet access\u003c/a> in Gaza.\u003c/p>\n\u003cp>After Oct. 20, when President Biden called for \u003ca href=\"https://www.cnn.com/2023/10/20/politics/us-israel-ukraine-aid-package/index.html\">$14.3 billion in aid to Israel\u003c/a>, many Americans have spoken out against U.S. support for the Israeli military. (Cumulatively, Israel has received \u003ca href=\"https://sgp.fas.org/crs/mideast/RL33222.pdf\">more U.S. assistance than any other country since World War II\u003c/a>.)\u003c/p>\n\u003cp>“The more people know, the less uncomfortable they feel about talking about it, knowing that it’s not about a political issue, but about our human rights,” Barance said.\u003c/p>\n\u003cfigure id=\"attachment_13937225\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg\" alt=\"A woman in the audience closes her eyes while listening to a concert.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Katina Castillo listens to Astu perform at the For Palestine fundraiser on Sunday, Oct. 29, 2023. Castillo said the event helped her process her emotions. ‘It’s been very difficult for me to find the space and the time to do the release that I really need to do,’ Castillo said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Continental Club, Palestinian American drag performer Mama Ganuush shared appalling details from their family history, detailing how Israeli settlers murdered their father’s siblings in the 1940s. “The Minister of Defense of Israel called Palestinians ‘\u003ca href=\"https://www.huffpost.com/entry/israel-defense-minister-human-animals-gaza-palestine_n_6524220ae4b09f4b8d412e0a\">human animals\u003c/a>’ two weeks ago,” said Mama Ganuush, imploring the audience to call their representatives and advocate for a ceasefire in Gaza. “This is what the Nazis called Jewish folks.”\u003c/p>\n\u003cp>Grief was heavy in the air at times throughout the event, but there was also hope and solidarity in the room. “The posts are great, calling Congress is great, but we have to go \u003cem>here\u003c/em>,” Astu said on stage during her performance, gesturing to her heart. “Most of us come from genocide, and we just have been brainwashed to forget.”\u003c/p>\n\u003cp>To bring the energy up, poet \u003ca href=\"https://www.instagram.com/atayqueen/\">Sarah O’Neal\u003c/a> led the audience in a chant she learned in 2014 after protesting Mike Brown’s killing in Ferguson, Missouri: “We must love each other and protect each other. We have nothing to lose but our chains. I believe that we will win.”\u003c/p>\n\u003cp>As the evening came to a close, headliner \u003ca href=\"https://empire.ffm.to/peacewithoutfreedom\">Sammy Shiblaq\u003c/a>, a Palestinian American rapper signed to EMPIRE, ended the night with a message of unity. “It’s about \u003cem>all\u003c/em> of us,” he said. “We can’t just focus on one group of Palestinians. It’s the Muslim, the Christian, the Jewish Palestinians that no one talks about. … We love the Jewish people \u003cspan style=\"font-weight: 400\">— we don’t like what’s going on. We don’t like that Zionism has taken over the name of the Jewish people.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13937259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937259\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azadeh Amani attaches a handwritten note to a table the event organizers set up for guest to “release grief” and “share hopes.” Amani heard about the event through friends and knew she needed to attend. “I came because the Palestinian struggle has always been near to my heart,” Amani said. “To just bring my body here and say that this injustice is not invisible. It doesn’t happen silently. We don’t turn away.” \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to include a quote from Sammy Shiblaq. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The benefit concert at Continental Club built on a long history of multicultural solidarity in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“All my homies throw down for Palestine,” said Palestinian-Lebanese American singer \u003ca href=\"https://www.instagram.com/camelliaboutrosmusic/\">Camellia Boutros\u003c/a> on stage at Oakland’s Continental Club on Oct. 29. “Everyone in this audience here today, even if we don’t know each other, we’re all friends and family because we’re all here sharing space, sharing joy and love and grief and anger and in solidarity with Palestine. And it’s so meaningful.”\u003c/p>\n\u003cp>As Boutros and her band launched into an up-tempo, psych-rock version of the Palestinian folk song “Wein a Ramallah,” which the musician described as an international symbol of resistance, the multicultural audience of nearly 500 20- and 30-somethings clapped along and danced. Yet there were also tears and heartbroken embraces at the For Palestine fundraiser, which collected $13,000 for the charity \u003ca href=\"https://www.pcrf.net/\">Palestinian Children’s Relief Fund\u003c/a>, co-organizer Janan Barance told KQED.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the past three weeks, thousands of Bay Area residents have taken to the streets to protest Israel’s attacks on Gaza, which have \u003ca href=\"https://apnews.com/article/israel-hamas-war-news-10-29-2023-de1a7d660ba2f6d80b3d7aeaae5bb0f3\">killed over 8,000 Palestinians\u003c/a> — many of them women and children. While supporters of Israel maintain it has a right to defend itself after an attack by Hamas militants on Oct. 7 that killed 1,400 Israeli civilians, with 200 more taken hostage, a U.N. expert and other observers say Israel’s response amounts to a “\u003ca href=\"https://www.ohchr.org/en/press-releases/2023/10/un-expert-warns-new-instance-mass-ethnic-cleansing-palestinians-calls\">mass ethnic cleansing\u003c/a>.”\u003c/p>\n\u003cp>As global calls for a ceasefire and humanitarian aid to Gaza continue to mount, Sunday’s \u003ca href=\"https://www.instagram.com/p/Cy8vG7MrTjV/\">For Palestine fundraiser\u003c/a> was Bay Area artists’ largest show in recent weeks of solidarity with Palestinians, who human rights groups like Amnesty International say have been \u003ca href=\"https://www.amnesty.org/en/latest/campaigns/2022/02/israels-system-of-apartheid/\">living under apartheid conditions\u003c/a> for decades.\u003c/p>\n\u003cp>The For Palestine fundraiser followed a long tradition in Bay Area activism of cross-cultural solidarity against colonialism. In the decades since the Black Panthers, Third World Liberation Front and other social movements of the 1960s, local artists like filmmaker Boots Riley, muralist Refa One and rapper Equipto have echoed that message. Following in their footsteps on stage at the Continental Club Sunday, a younger generation of performers connected the struggles of Palestinians, the original Ohlone inhabitants of the Bay Area and Black Americans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is occupied land,” said Palestinian American poet \u003ca href=\"https://www.instagram.com/yaffasutopia/\">Mx. Yaffa\u003c/a>, an organizer at the \u003ca href=\"https://www.themasgd.org/\">Muslim Alliance for Sexual and Gender Diversity\u003c/a>. “This has been Palestine for over 400 years.”\u003c/p>\n\u003cfigure id=\"attachment_13937232\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937232\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg\" alt=\"Two Palestinian drag performers wearing feminine clothing and makeup speak on stage.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-25-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mama Ganuush (left) and Mx. Yaffa speak at For Palestine, a fundraiser in support of Palestinian Children’s Relief Fund, at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The state that is capitalizing on the killing and imprisonment of Black people is capitalizing and benefiting on the killing of the Palestinian people as well,” said Oakland experimental musician \u003ca href=\"https://www.instagram.com/a_r_o_m_a_/\">Aroma\u003c/a>, who organized the For Palestine fundraiser with Barance and fellow musician \u003ca href=\"https://www.instagram.com/astu.music/\">Astu\u003c/a>. “The apathy towards their death and their pain and their outcries, the gaslighting that they experience … I feel like I resonate with that as a Black person.”\u003c/p>\n\u003cp>On the screen behind performers, photos flashed of Bay Area protesters holding signs of Mexican, Ukrainian and Jewish solidarity with Palestinians. Barance, who is Palestinian American, said she’s never seen so much multicultural support for Palestinian rights until this month. “We always say people are liberal until it comes to Palestine,” she said of people’s reluctance to comment on the issue.\u003c/p>\n\u003cfigure id=\"attachment_13937234\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937234\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-40-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">From left: Aroma, Janan Barance and Astu, the organizers of the For Palestine event, pose for a portrait at the Continental Club on Sunday, Oct. 29, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, mainstream American media has long described Israel’s blockade of Gaza and occupation of the West Bank as a \u003ca href=\"https://www.theguardian.com/world/2023/oct/11/israel-palestine-war-biden-zelenskiy\">conflict\u003c/a> with two equal sides. Human rights groups, meanwhile, have warned that Israel’s systemic displacement, segregation and restriction of voting rights of Palestinians amounts to apartheid. Human Rights Watch has called Gaza “\u003ca href=\"https://www.hrw.org/news/2022/06/14/gaza-israels-open-air-prison-15\">Israel’s open-air prison\u003c/a>” due to poor living conditions and heavy travel restrictions, and since Oct. 7, Israel has \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">blocked aid\u003c/a> and \u003ca href=\"https://www.aljazeera.com/news/2023/10/11/gaza-faces-humanitarian-catastrophe-as-sole-power-plant-runs-out-of-fuel\">cut off electricity\u003c/a> and \u003ca href=\"https://www.reuters.com/world/middle-east/egypt-says-israeli-obstacles-impeding-aid-delivery-gaza-2023-10-28/\">internet access\u003c/a> in Gaza.\u003c/p>\n\u003cp>After Oct. 20, when President Biden called for \u003ca href=\"https://www.cnn.com/2023/10/20/politics/us-israel-ukraine-aid-package/index.html\">$14.3 billion in aid to Israel\u003c/a>, many Americans have spoken out against U.S. support for the Israeli military. (Cumulatively, Israel has received \u003ca href=\"https://sgp.fas.org/crs/mideast/RL33222.pdf\">more U.S. assistance than any other country since World War II\u003c/a>.)\u003c/p>\n\u003cp>“The more people know, the less uncomfortable they feel about talking about it, knowing that it’s not about a political issue, but about our human rights,” Barance said.\u003c/p>\n\u003cfigure id=\"attachment_13937225\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937225\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg\" alt=\"A woman in the audience closes her eyes while listening to a concert.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-16-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Katina Castillo listens to Astu perform at the For Palestine fundraiser on Sunday, Oct. 29, 2023. Castillo said the event helped her process her emotions. ‘It’s been very difficult for me to find the space and the time to do the release that I really need to do,’ Castillo said. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Continental Club, Palestinian American drag performer Mama Ganuush shared appalling details from their family history, detailing how Israeli settlers murdered their father’s siblings in the 1940s. “The Minister of Defense of Israel called Palestinians ‘\u003ca href=\"https://www.huffpost.com/entry/israel-defense-minister-human-animals-gaza-palestine_n_6524220ae4b09f4b8d412e0a\">human animals\u003c/a>’ two weeks ago,” said Mama Ganuush, imploring the audience to call their representatives and advocate for a ceasefire in Gaza. “This is what the Nazis called Jewish folks.”\u003c/p>\n\u003cp>Grief was heavy in the air at times throughout the event, but there was also hope and solidarity in the room. “The posts are great, calling Congress is great, but we have to go \u003cem>here\u003c/em>,” Astu said on stage during her performance, gesturing to her heart. “Most of us come from genocide, and we just have been brainwashed to forget.”\u003c/p>\n\u003cp>To bring the energy up, poet \u003ca href=\"https://www.instagram.com/atayqueen/\">Sarah O’Neal\u003c/a> led the audience in a chant she learned in 2014 after protesting Mike Brown’s killing in Ferguson, Missouri: “We must love each other and protect each other. We have nothing to lose but our chains. I believe that we will win.”\u003c/p>\n\u003cp>As the evening came to a close, headliner \u003ca href=\"https://empire.ffm.to/peacewithoutfreedom\">Sammy Shiblaq\u003c/a>, a Palestinian American rapper signed to EMPIRE, ended the night with a message of unity. “It’s about \u003cem>all\u003c/em> of us,” he said. “We can’t just focus on one group of Palestinians. It’s the Muslim, the Christian, the Jewish Palestinians that no one talks about. … We love the Jewish people \u003cspan style=\"font-weight: 400\">— we don’t like what’s going on. We don’t like that Zionism has taken over the name of the Jewish people.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13937259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937259\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/231029_ForPalestineBenefit_EG-42-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Azadeh Amani attaches a handwritten note to a table the event organizers set up for guest to “release grief” and “share hopes.” Amani heard about the event through friends and knew she needed to attend. “I came because the Palestinian struggle has always been near to my heart,” Amani said. “To just bring my body here and say that this injustice is not invisible. It doesn’t happen silently. We don’t turn away.” \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include a quote from Sammy Shiblaq. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Valerie Simpson is not a household name, unless your household recognizes her as one half of Ashford & Simpson. And even then, despite Ashford & Simpson’s decades as an R&B duo and songwriting powerhouse, your household might only know “\u003ca href=\"https://www.youtube.com/watch?v=w3PoTnkLfxE\">Solid\u003c/a>” — their 1984 hit about a dependable love between two partners, solid as a rock, whose thrill is still \u003cem>hah-hah-hah-hah-hah-hah-hah-hot\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13892242']But Ashford & Simpson also excelled in songs about another kind of love. The non-romantic love for one’s fellow human. The care and empathy that’s so often hard to find, or access, amidst the chaos of the world. “\u003ca href=\"https://youtu.be/A1QnhENzXDk?si=CCpo_V74fU-zUe58&t=130\">Reach Out and Touch (Somebody’s Hand)\u003c/a>.” “\u003ca href=\"https://www.youtube.com/watch?v=G2QvJrOzu4s\">Found a Cure\u003c/a>.” “\u003ca href=\"https://www.youtube.com/watch?v=nwNNMCZKe48\">Don’t Cost You Nothing\u003c/a>.” Even Simpson’s first solo album opens with “\u003ca href=\"https://www.youtube.com/watch?v=6OoyexFOwsM\">Fix It Alright\u003c/a>,” a beautiful reminder of the value in offering support to one another.\u003c/p>\n\u003cp>All of which makes Valerie Simpson a perfect musical guest for this year’s \u003ca href=\"https://www.kqed.org/news/tag/glide-memorial\">Glide Memorial\u003c/a> Holiday Jam on Nov. 9. Celebrating its 60-year anniversary in 2023, Glide Memorial offers free meals, rental assistance, harm reduction and an array of other services. From its home in the Tenderloin, Glide’s focus is on the less fortunate — the unhoused, the destitute, and the ones bypassed by America’s fallible safety net. (Simpson knows this population: in 1975, she co-wrote the debut album by the \u003ca href=\"https://www.youtube.com/watch?v=DtIrsD1Whl0\">Dynamic Superiors\u003c/a>, whose openly gay lead singer performed in drag during a very different, oppressive era.)\u003c/p>\n\u003cp>[aside postID='arts_13823151']Also on the Holiday Jam bill are Martin Luther and Goapele, local stars who’ve blended music and activism for years, as well as D’wayne Wiggins. (Wiggins, whose quiet community support \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">turns up in unexpected places\u003c/a>, will be just off a nationwide tour with Tony Toni Toné.) And, along with the Glide Ensemble, and KQED’s own Priya David Clemens as emcee, there’ll be a guest of high honor in Rev. Cecil Williams, the 94-year-old pastor emeritus of Glide who stepped down earlier this year. \u003c/p>\n\u003cp>\u003cem>Glide Memorial’s Holiday Jam takes place Thursday, Nov. 9, at The Masonic in San Francisco. \u003ca href=\"https://fundraise.givesmart.com/e/d7wETg?vid=11v7b9\">Details and ticket information here\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Valerie Simpson is not a household name, unless your household recognizes her as one half of Ashford & Simpson. And even then, despite Ashford & Simpson’s decades as an R&B duo and songwriting powerhouse, your household might only know “\u003ca href=\"https://www.youtube.com/watch?v=w3PoTnkLfxE\">Solid\u003c/a>” — their 1984 hit about a dependable love between two partners, solid as a rock, whose thrill is still \u003cem>hah-hah-hah-hah-hah-hah-hah-hot\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Ashford & Simpson also excelled in songs about another kind of love. The non-romantic love for one’s fellow human. The care and empathy that’s so often hard to find, or access, amidst the chaos of the world. “\u003ca href=\"https://youtu.be/A1QnhENzXDk?si=CCpo_V74fU-zUe58&t=130\">Reach Out and Touch (Somebody’s Hand)\u003c/a>.” “\u003ca href=\"https://www.youtube.com/watch?v=G2QvJrOzu4s\">Found a Cure\u003c/a>.” “\u003ca href=\"https://www.youtube.com/watch?v=nwNNMCZKe48\">Don’t Cost You Nothing\u003c/a>.” Even Simpson’s first solo album opens with “\u003ca href=\"https://www.youtube.com/watch?v=6OoyexFOwsM\">Fix It Alright\u003c/a>,” a beautiful reminder of the value in offering support to one another.\u003c/p>\n\u003cp>All of which makes Valerie Simpson a perfect musical guest for this year’s \u003ca href=\"https://www.kqed.org/news/tag/glide-memorial\">Glide Memorial\u003c/a> Holiday Jam on Nov. 9. Celebrating its 60-year anniversary in 2023, Glide Memorial offers free meals, rental assistance, harm reduction and an array of other services. From its home in the Tenderloin, Glide’s focus is on the less fortunate — the unhoused, the destitute, and the ones bypassed by America’s fallible safety net. (Simpson knows this population: in 1975, she co-wrote the debut album by the \u003ca href=\"https://www.youtube.com/watch?v=DtIrsD1Whl0\">Dynamic Superiors\u003c/a>, whose openly gay lead singer performed in drag during a very different, oppressive era.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also on the Holiday Jam bill are Martin Luther and Goapele, local stars who’ve blended music and activism for years, as well as D’wayne Wiggins. (Wiggins, whose quiet community support \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">turns up in unexpected places\u003c/a>, will be just off a nationwide tour with Tony Toni Toné.) And, along with the Glide Ensemble, and KQED’s own Priya David Clemens as emcee, there’ll be a guest of high honor in Rev. Cecil Williams, the 94-year-old pastor emeritus of Glide who stepped down earlier this year. \u003c/p>\n\u003cp>\u003cem>Glide Memorial’s Holiday Jam takes place Thursday, Nov. 9, at The Masonic in San Francisco. \u003ca href=\"https://fundraise.givesmart.com/e/d7wETg?vid=11v7b9\">Details and ticket information here\u003c/a>.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Willie starts with the words.\u003c/p>\n\u003cp>It’s one of the surprising revelations in Willie Nelson’s new book, \u003cem>Energy Follows Thought: The Stories Behind My Songs\u003c/em>, an examination of the 90-year-old country legend and soon-to-be Rock & Roll Hall of Famer’s seven decades of songwriting.\u003c/p>\n\u003cp>[aside postid='arts_13936614']While his guitar is practically an extension of his body at this point, he has always started the writing process by thinking up words rather than strumming chords. To him, it’s doing the hard part first.\u003cbr>\n“The melodies are easier to write than the words,” Nelson told The Associated Press in an interview ahead of Tuesday’s release of his book.\u003c/p>\n\u003cp>He does not, however, write those words down, not even on a napkin.\u003c/p>\n\u003cp>“I have a theory,” he said, “that if you can’t remember ’em, it probably wasn’t that good.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nelson actually started out as a poet of sorts. At age 6 in Depression-era Texas, he composed a verse in response to the looks he got when he picked his nose and got a nosebleed while standing in front of his church congregation.\u003c/p>\n\u003cp>“My poem was, ‘What are you looking at me for? I ain’t got nothin to say, if you don’t like the looks of me, look some other way,’” he recalled 84 years later. “That was the beginning.”\u003c/p>\n\u003cp>He started writing songs soon after.\u003c/p>\n\u003cp>When he became a superstar in middle age in the mid-1970s, Nelson would be best known for his dynamic live performances and his guitar and vocal stylings.\u003c/p>\n\u003cp>But as a young man in the 1950s and early ’60s, he was best known as one of the struggling songsmiths who spent their days and nights at Tootsie’s Orchid Lounge in Nashville.\u003c/p>\n\u003cp>In 1961, three of his songs became hits for other artists: Billy Walker’s “Funny How Time Slips Away,” Faron Young’s “Hello Walls” and, most importantly, Patsy Cline’s “Crazy,” a song that would become a signature for her and both a financial boon and an ego boost for him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_0jOR5DC0rM\u003c/p>\n\u003cp>“Because Patsy liked it, I was poor no longer,” he writes in the book. “This particular ‘Crazy’ convinced me, at a time when I wasn’t a hundred percent sure of my writing talent, that I’d be crazy to stop writing.”\u003c/p>\n\u003cp>He would go on to make other writers’ songs his own in the same way. He didn’t write most of the biggest hits associated with him, which came in the 1970s and ’80s: “Blue Eyes Crying in the Rain,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Always on My Mind.”\u003c/p>\n\u003cp>He almost seemed to retire from songwriting when fame finally came to him in the Outlaw Country era, enjoying the chance to record his favorite old standards or the compositions of hot young writers.\u003c/p>\n\u003cp>[aside postid='arts_13913286']But he never stopped composing entirely. Director Sydney Pollack prodded him to write a new song for the 1980 Nelson-starring film \u003cem>Honeysuckle Rose\u003c/em>, on which Pollack was an executive producer.\u003c/p>\n\u003cp>Nelson responded by writing — words first — “On The Road Again.”\u003c/p>\n\u003cp>Pollack was less than thrilled with the lyrics in isolation: “The life I love is makin’ music with my friends, and I can’t wait to get on the road again.”\u003c/p>\n\u003cp>But was pleased when he heard the chugging music that suggested a train, or a tour bus.\u003c/p>\n\u003cp>And Nelson would appreciate the nudge.\u003c/p>\n\u003cp>“Without knowing or trying, in a few little lines, I’d written the story of my life,” he says in the book.\u003c/p>\n\u003cp>But the songs did get fewer and farther between. More than performing, songwriting can be a young man’s game.\u003c/p>\n\u003cp>“I don’t write as much as I used to,” he told the AP. “The ideas don’t come that quick. I still write now and then.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8tXosYPillw\u003c/p>\n\u003cp>He did recently write the song that gives the name to his book, “Energy Follows Thought,” for his 2022 album, \u003cem>A Beautiful Time\u003c/em>.\u003c/p>\n\u003cp>In it, Nelson and co-authors David Ritz and Mickey Raphael give brief backstories to 160 different songs he’s written through the years.\u003c/p>\n\u003cp>It wasn’t prompted by any great sense of reflection.\u003c/p>\n\u003cp>[aside postid='arts_13922004']“Some of my business guys thought it would be a good thing to do,” Nelson said.\u003c/p>\n\u003cp>The year of his 90th birthday has been overloaded with events. He was feted by a fellow stars, including Neil Young and Snoop Dogg, in a two-night celebration at the Hollywood Bowl in the summer.\u003c/p>\n\u003cp>And on Friday, the same week the book is released, he’ll be inducted into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>Last year, fellow country legend Dolly Parton got a spot in the hall, and had mixed feelings about whether she belonged, even turning down the honor at first.\u003c/p>\n\u003cp>But Nelson, whose whole body of work has been built on ignoring the lines between genres, has no such problem.\u003c/p>\n\u003cp>“You can get rock and roll in country, rock and roll in any kind of music,” he said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.harpercollins.com/products/energy-follows-thought-willie-nelsondavid-ritz?variant=41030312263714\">Energy Follows Thought: The Stories Behind My Songs\u003c/a>’ by Willie Nelson and co-authors David Ritz and Mickey Raphael is released on Oct. 31, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While his guitar is practically an extension of his body at this point, he has always started the writing process by thinking up words rather than strumming chords. To him, it’s doing the hard part first.\u003cbr>\n“The melodies are easier to write than the words,” Nelson told The Associated Press in an interview ahead of Tuesday’s release of his book.\u003c/p>\n\u003cp>He does not, however, write those words down, not even on a napkin.\u003c/p>\n\u003cp>“I have a theory,” he said, “that if you can’t remember ’em, it probably wasn’t that good.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nelson actually started out as a poet of sorts. At age 6 in Depression-era Texas, he composed a verse in response to the looks he got when he picked his nose and got a nosebleed while standing in front of his church congregation.\u003c/p>\n\u003cp>“My poem was, ‘What are you looking at me for? I ain’t got nothin to say, if you don’t like the looks of me, look some other way,’” he recalled 84 years later. “That was the beginning.”\u003c/p>\n\u003cp>He started writing songs soon after.\u003c/p>\n\u003cp>When he became a superstar in middle age in the mid-1970s, Nelson would be best known for his dynamic live performances and his guitar and vocal stylings.\u003c/p>\n\u003cp>But as a young man in the 1950s and early ’60s, he was best known as one of the struggling songsmiths who spent their days and nights at Tootsie’s Orchid Lounge in Nashville.\u003c/p>\n\u003cp>In 1961, three of his songs became hits for other artists: Billy Walker’s “Funny How Time Slips Away,” Faron Young’s “Hello Walls” and, most importantly, Patsy Cline’s “Crazy,” a song that would become a signature for her and both a financial boon and an ego boost for him.\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/_0jOR5DC0rM'\n title='//www.youtube.com/embed/_0jOR5DC0rM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Because Patsy liked it, I was poor no longer,” he writes in the book. “This particular ‘Crazy’ convinced me, at a time when I wasn’t a hundred percent sure of my writing talent, that I’d be crazy to stop writing.”\u003c/p>\n\u003cp>He would go on to make other writers’ songs his own in the same way. He didn’t write most of the biggest hits associated with him, which came in the 1970s and ’80s: “Blue Eyes Crying in the Rain,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Always on My Mind.”\u003c/p>\n\u003cp>He almost seemed to retire from songwriting when fame finally came to him in the Outlaw Country era, enjoying the chance to record his favorite old standards or the compositions of hot young writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he never stopped composing entirely. Director Sydney Pollack prodded him to write a new song for the 1980 Nelson-starring film \u003cem>Honeysuckle Rose\u003c/em>, on which Pollack was an executive producer.\u003c/p>\n\u003cp>Nelson responded by writing — words first — “On The Road Again.”\u003c/p>\n\u003cp>Pollack was less than thrilled with the lyrics in isolation: “The life I love is makin’ music with my friends, and I can’t wait to get on the road again.”\u003c/p>\n\u003cp>But was pleased when he heard the chugging music that suggested a train, or a tour bus.\u003c/p>\n\u003cp>And Nelson would appreciate the nudge.\u003c/p>\n\u003cp>“Without knowing or trying, in a few little lines, I’d written the story of my life,” he says in the book.\u003c/p>\n\u003cp>But the songs did get fewer and farther between. More than performing, songwriting can be a young man’s game.\u003c/p>\n\u003cp>“I don’t write as much as I used to,” he told the AP. “The ideas don’t come that quick. I still write now and then.”\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/8tXosYPillw'\n title='//www.youtube.com/embed/8tXosYPillw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He did recently write the song that gives the name to his book, “Energy Follows Thought,” for his 2022 album, \u003cem>A Beautiful Time\u003c/em>.\u003c/p>\n\u003cp>In it, Nelson and co-authors David Ritz and Mickey Raphael give brief backstories to 160 different songs he’s written through the years.\u003c/p>\n\u003cp>It wasn’t prompted by any great sense of reflection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Some of my business guys thought it would be a good thing to do,” Nelson said.\u003c/p>\n\u003cp>The year of his 90th birthday has been overloaded with events. He was feted by a fellow stars, including Neil Young and Snoop Dogg, in a two-night celebration at the Hollywood Bowl in the summer.\u003c/p>\n\u003cp>And on Friday, the same week the book is released, he’ll be inducted into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>Last year, fellow country legend Dolly Parton got a spot in the hall, and had mixed feelings about whether she belonged, even turning down the honor at first.\u003c/p>\n\u003cp>But Nelson, whose whole body of work has been built on ignoring the lines between genres, has no such problem.\u003c/p>\n\u003cp>“You can get rock and roll in country, rock and roll in any kind of music,” he said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.harpercollins.com/products/energy-follows-thought-willie-nelsondavid-ritz?variant=41030312263714\">Energy Follows Thought: The Stories Behind My Songs\u003c/a>’ by Willie Nelson and co-authors David Ritz and Mickey Raphael is released on Oct. 31, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 East Palo Alto Rap Tapes You’ve (Probably) Never Heard Before",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003cem>An obsessive collector of underground Bay Area rap cassettes, J. Darrah has chronicled \u003ca href=\"https://12manrambotapes.blogspot.com/\">over 500 Northern California hip-hop tapes from 1985–2000\u003c/a> on his blog, \u003ca href=\"https://12manrambotapes.blogspot.com/\">12ManRambo\u003c/a>. Here, he shares 10 standout tracks from his archive by lesser-known East Palo Alto rap artists.\u003c/em>\u003c/p>\n\u003cp>[dropcap]F[/dropcap]or its small size, the city of East Palo Alto has contributed immensely to underground Bay Area rap, and its influence goes much deeper than most people know. In fact, when a group of young men from the Fillmore ran into the Beastie Boys on the street in 1992, \u003ca href=\"https://www.youtube.com/watch?v=nYeTat_PB78&ab_channel=Porkys1982\">they got out their boomboxes and played Totally Insane’s East Palo Alto classic \u003cem>Direct From the Backstreet\u003c/em>\u003c/a> to show the Beasties what the hottest Bay Area rap was sounding like at the time.\u003c/p>\n\u003cfigure id=\"attachment_13937089\" class=\"wp-caption aligncenter\" style=\"max-width: 1008px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/totallyinsane.jpg\" alt=\"\" width=\"1008\" height=\"1407\" class=\"size-full wp-image-13937089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane.jpg 1008w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane-768x1072.jpg 768w\" sizes=\"(max-width: 1008px) 100vw, 1008px\">\u003cfigcaption class=\"wp-caption-text\">Totally Insane, from East Palo Alto, pictured in 1991. \u003ccite>(In-A-Minute Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of that credit goes to master producer Tomie Witherspoon, a.k.a. \u003ca href=\"https://www.discogs.com/artist/329739-TC-8\">T.C.\u003c/a>, a major factor in East Palo Alto who linked Totally Insane’s Ad Kapone and Mac-10 up with the likes of I.M.P., RBL Posse, Dre Dog and other San Francisco artists starting to bubble. At the time, it marked a rare cross-pollination between cities; up to that point (the 1988 \u003ca href=\"https://www.discogs.com/master/172622-The-Dangerous-Crew-Dangerous-Crew\">Dangerous Crew compilation\u003c/a> notwithstanding), rap in the Bay Area was largely hyper-regional. \u003c/p>\n\u003cp>[aside postID='arts_13923938']But something was different with this new EPA/SF connection, something which led to \u003ca href=\"https://www.youtube.com/watch?v=yveN6O38pgg\">countless rap compilations from the mid-’90s\u003c/a> spanning artists from virtually every pocket of the Bay — whereas just a few years prior, it was every artist for themself, struggling to be heard outside of their neighborhood (back)street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story that these 10 tracks tell isn’t one about how a small town had to assimilate into a larger city in order to gain acceptance. It’s about that smaller town coming fully formed from the get-go, with their own style and lingo, and letting their light shine through the whole Bay Area — showing that true “\u003ca href=\"https://www.urbandictionary.com/define.php?term=rogue&page=2\">rogues\u003c/a>” always get their piece of the pie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4EG5lWCt1ng\u003c/p>\n\u003ch2>1. Members Only Crew, ‘Rock Your Body’ (1985)\u003c/h2>\n\u003cp>Responsible for what’s likely the very first rap record out of Silicon Valley, the \u003ca href=\"https://www.youtube.com/watch?v=RiU_ysKjoyc\">Members Only Crew\u003c/a> were a group of young Stanford students who essentially created hip-hop radio as a format on campus station \u003ca href=\"https://kzsu.stanford.edu/\">KZSU 90.1 FM\u003c/a>. The two prominent crew members were DJ Kevvy Kev and Jonathan Brown. In addition to establishing \u003cem>The Drum\u003c/em> on KZSU — the longest-running hip-hop radio show in the country — \u003ca href=\"http://trueskool.com/page/dj-kevvy-kev\">Kevvy Kev\u003c/a> was a founding member of Sway & Tech’s \u003ca href=\"https://www.youtube.com/watch?v=HraCuAkZlBU&ab_channel=SWAY%27SUNIVERSE\">Wake Up Show\u003c/a> and later served as tour DJ to the RZA. \u003ca href=\"https://www.discogs.com/artist/248247-Jonathan-Brown\">Jonathan Brown\u003c/a>, a Tulsa transplant turned late ’80s/’90s EPA resident, is an endlessly prolific DJ, producer and MC who created his own eccentric, auteur-like musical universe via his \u003ca href=\"https://www.youtube.com/watch?v=iQgdn5i35uI\">Bass Way International\u003c/a> and \u003ca href=\"https://www.discogs.com/label/32556-Jubwa-Nation-Records\">Jubwa Nation\u003c/a> monikers.\u003c/p>\n\u003cp>Before there was even anything clearly defined as “EPA rap,” the influence of the Members Only Crew on the general region’s street scene was undeniable. Witness the final track of their 1985 four-song EP on their very own Cold Fresh label: the talk box-laced B-boy jam “Rock Your Body,” which showcases Jonathan Brown’s Egyptian Lover-esque freaky flow on each verse and foreshadows his solo “\u003ca href=\"https://www.youtube.com/watch?v=wEuMgpw5j6M&ab_channel=TorstenWolf\">Bass Creator\u003c/a>” sound to come. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N_Two3MYH3U\u003c/p>\n\u003ch2>2. Rated X, ‘Be Cool To Your Girl’ (1990)\u003c/h2>\n\u003cp>Rated X were a group outta Midtown consisting of Cool Breeze, DJ Ajax and Captain Crunch, aka \u003ca href=\"https://www.discogs.com/artist/174133-C-Funk\">C-Funk\u003c/a>, who was a major factor in EPA rap while racking up production credits for Conscious Daughters, Rappin’ 4-Tay, Daz and Kurupt from the Dogg Pound and more. \u003c/p>\n\u003cp>“Be Cool To Your Girl” was a local hit, released on the well funded and Cameron Paul-associated label \u003ca href=\"https://www.discogs.com/label/39569-Tandem-Records?sort=year&sort_order=asc\">Tandem Records\u003c/a> (based out of the very un-‘urban’ peninsula town of Burlingame), and was the first of its kind to be played on mainstream radio. Utilizing a jazzy, deceptively rugged sample of Mel & Tim’s “\u003ca href=\"https://www.youtube.com/watch?v=nToIwbn3GJQ\">Keep The Faith\u003c/a>” (much later sampled by the likes of DJ Premier and Madlib), the song was a voice of compassion towards female companions which, \u003ca href=\"https://www.youtube.com/watch?v=Ts4ePdVAQP4\">in an era of heavy bitch ’n hoe raps\u003c/a>, was a breath of fresh air. But it was also a perfect target — whether due to jealousy, or simply to point fingers at a sucker ‘Captain Save a Hoe’ type — for an immediate backlash.\u003c/p>\n\u003cp>Cue Parts Unknown.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ylq1ejZwpDI\u003c/p>\n\u003ch2>3. Parts Unknown, ‘Another Day In EPA’ (1990)\u003c/h2>\n\u003cp>Released solely on cassette, \u003cem>Time For Turmoil\u003c/em> was essentially a raw, low-budget compilation of rap acts from ‘The Ville,’ The Village, who had a rivalry with Midtown and who finally made their voices heard after a couple years of anonymity. The whole tape starts with the above-mentioned Rated X’s regional hit \u003ca href=\"https://www.youtube.com/watch?v=4EVVaGp6QfQ\">promptly being scraped off the turntable\u003c/a>, and main rapper Kilo G boldly stating “FUCK CRUNCH” after each of his verses, stating “…Crunch has got an attitude / Girls approach him and they find his manner’s plenty rude” — implying that, in reality, the Rated X frontman may not have been so cool to his girls.\u003c/p>\n\u003cp>The tape’s centerpiece is “Another Day In EPA,” a long-winded piece of murderous street storytelling that doubles as an early roll call of fellow Village street stars and rappers. Young Mack and K-9, who went on to form \u003ca href=\"https://www.discogs.com/artist/365346-SIC-4\">S.I.C. (Sic Insane Criminals)\u003c/a>, rhyme over a beat that magically turns Soul II Soul’s “\u003ca href=\"https://www.youtube.com/watch?v=ZVooz47WUOE\">Keep On Movin’\u003c/a>” into mobbed-out menace. Mixed with \u003cem>Ultimate Breaks & Beats\u003c/em> sample staples like James Brown’s “Big Payback” and Esther Williams’ phone-ringing hit “Last Night Changed It All,” the track finds Young Mack cuttin’ town getting “a room at the ‘Cozy'” and later jumpin’ on the “‘Way Way’ to go chill with the n-ggas down in P.A.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qUQJ648MMfQ\u003c/p>\n\u003ch2>4. EPA’s Own Parental Advisory, ‘A N-gga Named Dopestyle’ (1990)\u003c/h2>\n\u003cp>A cassette-only project spearheaded by \u003ca href=\"https://www.discogs.com/artist/219951-MC-Dopestyle\">MC Dopestyle\u003c/a> outta The Gardens, \u003cem>The Cum Song\u003c/em> EP was an all-out assault on rap music and perhaps just music in general. Think the Cold Crush Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=f3Ze773VqLM\">Punk Rock Rap\u003c/a>” flipped on its head — or “Ultramagnetic MCs on steroids,” as a friend once described it — driving much harder into the essence of punk as utter rebellion rather than just a flashy look or surface sound. Dopestyle seeked to destroy. You can hear his frustration and total defiance on “A N-gga Named Dopestyle,” “gunning meatheads down with vocab,” a “pro-Black n-gga” who “drink(s) Clorox” and whose “shit I write is really Black literature.” This man was a true rogue, full of glorious contradictions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BxxbFJLfhCg\u003c/p>\n\u003ch2>5. Totally Insane, ‘What Ya Know’ (1991)\u003c/h2>\n\u003cp>Chances are you \u003cem>have\u003c/em> heard this one. Considered by many to be \u003cem>the\u003c/em> crown rulers of EPA Rap, Totally Insane consisted of rappers Ad Kapone and Mac-10, featuring supremely solid production — and a connection to San Francisco giants I.M.P., Dre Dog and RBL Posse — via official member \u003ca href=\"https://www.discogs.com/artist/329739-TC-8\">T.C.\u003c/a>\u003c/p>\n\u003cp>On “What Ya Know,” Ad Kapone, in his signature laid-back flow, schools us on his fateful meeting with neighborhood kingpin \u003ca href=\"https://www.discogs.com/artist/8817445\">Mike D. Washington\u003c/a>, who funded much of the group’s early activity. As Ad Kapone explains in his second verse, Washington “Jumped out his drop Benz like a Black god / He stepped to me and pulled out a fat-ass wad / He said ‘With this you will kick the gangster shit, Ad’ / I called up Mac-10 and Mac wasn’t even mad.”\u003c/p>\n\u003cp>With the track’s luxurious gangster flip of Idris Muhammad’s “\u003ca href=\"https://www.youtube.com/watch?v=3GB2w1J8FyY\">Power Of Soul\u003c/a>” that conjures grandiose images of pyramids in the EPA backstreets, it’s no wonder Totally Insane attained such status in the region, and to this day are held in the highest regard.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=luOXxmygtOs\u003c/p>\n\u003ch2>6. Chunk, ‘What Waz I To Do?’ (1992)\u003c/h2>\n\u003cp>A prolific artist who made three full-length albums in the span of just two years on the Tandem label, Chunk was a Midtown rapper graced mainly with classic C-Funk production before hooking up with the mighty \u003ca href=\"https://www.discogs.com/artist/362683-Sean-T-2\">Sean T\u003c/a> in 1993 and signing with \u003ca href=\"https://www.discogs.com/label/59339-Murder-One-Records\">Murder One Records\u003c/a>. Before going solo, Chunk was in a group called Reality with \u003ca href=\"https://www.discogs.com/artist/5038924-Doc-Loui\">Doc Loui\u003c/a> and Ad Kapone of Totally Insane. As Ad recently explained in \u003ca href=\"https://youtu.be/YxGYB18foZ0?si=91YlZiVWdIOGCdIO&t=1279\">a recent interview with Dregs One\u003c/a>, he had to stop making music with them due to the intense rivalry between Midtown and The Ville (Doc Loui was from the latter part of town), with a shootout at the local talent show proving just how heated the funk had gotten.\u003c/p>\n\u003cp>If there was ever a hit single from Chunk, “What Waz I To Do?” was it. Busting hardcore lyrics over a smooth \u003ca href=\"https://www.youtube.com/watch?v=LKFqciMVpI8\">Lonnie Liston Smith sample\u003c/a>, the perfect blend of “street” and “cosmic” is achieved as Chunk runs through the trials and tribulations of growing up in the EPA streets backed by a hopeful soundtrack.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IrJhFnVjVaY\u003c/p>\n\u003ch2>7. Funk Lab All Stars, ‘La Da Da’ (1991)\u003c/h2>\n\u003cp>A heavily P-Funk-inspired project reminiscent of Oakland’s Digital Underground, Funk Lab All Stars were led by C-Funk and included a young \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam The Funkstress\u003c/a> on the turntables. Boots Riley of The Coup once \u003ca href=\"https://m.facebook.com/story.php/?id=520078663&story_fbid=10155969256363664\">told of seeing Pam DJ for Funk Lab in 1992\u003c/a> and being dead-set on hiring her for his own group; she became The Coup’s DJ shortly afterward.\u003c/p>\n\u003cp>“La Da Da” is a silly but playful track and video, and the Funk Lab All Stars’ sole album \u003cem>Music From A Motion Picture Funktrack\u003c/em> is worth checking out for a fun late-night weekend party.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ngnmhkb_jJA\u003c/p>\n\u003ch2>8. Money Marc, Ad Kapone, Doc Loui & … – Demo Track (1991)\u003c/h2>\n\u003cp>When first unearthed, this was thought to be a lost track from Totally Insane’s \u003cem>Crazy Shit\u003c/em> album, which was scrapped due to Mike D. Washington passing away. But after a few listens, it became evident that it’s simply another slammin’-ass track that just never saw a proper release, likely recorded not too long after the release of Totally Insane’s classic \u003cem>Direct From The Backstreets\u003c/em>. Found on an old Maxell cassette, it’s being uploaded for the first time here.\u003c/p>\n\u003cp>The first MC to bat on this buried gem is Money Marc of \u003ca href=\"https://www.discogs.com/artist/785633-Neva-Legal\">Neva Legal\u003c/a>, a group that didn’t have a proper full-length release until 1998. The track is definitely rough and unfinished, as evidenced by the gritty, slightly slap-backed delay on Ad Kapone’s vocals on the second verse, sonically inconsistent with the other rappers’ sound. Ad slays the track, rhyming “test a ‘G'” with “recipe,” and the third verse features an pre-pubescent sounding Doc Loui rapping about the “first day in my life as a gangster,” during which he robs a local bank with his posse and makes a quick getaway from the cops “cuz they just too slow.” \u003c/p>\n\u003cp>The intro’s impression of then-president George Bush Sr. is comedy gold, claiming that those awful East Palo Alto Guys “are pulling too many jacks, and uhhh selling too many sacks…and it’s just uhhh ruining the nation.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vpN-KWPBc98\u003c/p>\n\u003ch2>9. M.O.G. – P.A. Thang (1992)\u003c/h2>\n\u003cp>While helping lead the Bay Area into a new era of mobb music with less samples and more live instrumentation, Sean T of M.O.G. (\u003ca href=\"https://www.discogs.com/artist/2914416\">Murder One Gangster\u003c/a>) gained massive cred blessing \u003ca href=\"https://www.discogs.com/artist/362683-Sean-T-2?superFilter=Credits\">artists from all around the Bay\u003c/a> with his unforeseen levels of musical talent. (Ever witnessed the club go crazy to Mac Dre’s “Feelin’ Myself”? That’s Sean T’s beat, right there.)\u003c/p>\n\u003cp>Along with G-Man Stan — the guitarist, engineer, producer and head of the Oakland-based \u003ca href=\"https://www.discogs.com/label/414121-Find-A-Way-Studios\">Find A Way Studios\u003c/a> — Sean T went on to define the EPA sound of the mid-’90s. The two formed \u003ca href=\"https://www.discogs.com/label/56694-Young-Gotti-Records\">Young Gotti Records\u003c/a> in 1996 and released Sean’s classic LP \u003ca href=\"https://www.discogs.com/release/2958772-Sean-T-Pimp-Lyrics-Dollar-Signs\">Pimp Lyrics & Dollar Signs\u003c/a>, among many others. \u003c/p>\n\u003cp>“P.A. Thang” is a slow-rolling, pimped-out track, with Sean and his groupmates Top Dog and Kaos narrating what it’s like to live and die in the EPA streets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ieS77wvQOcQ\u003c/p>\n\u003ch2>10. Female Fonk – Sucka Free\u003c/h2>\n\u003cp>Responsible for perhaps the first rap to turn Juicy’s “\u003ca href=\"https://www.youtube.com/watch?v=lHLCxviD7oY\">Sugar Free\u003c/a>” into a play on words, \u003ca href=\"https://www.discogs.com/artist/981327-Female-Fonk\">Female Fonk\u003c/a> were the duo of Ju Boo and Pam The Funkstress, signed to \u003ca href=\"https://www.discogs.com/label/97700-Buck-Fifty-Records\">Buck Fifty Records\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With labelmates like Rappin’ 4-Tay and San Quinn, it’s a wonder that these two didn’t do more damage than a cassette-only release. But Pam was quickly snatched up by Boots Riley of The Coup, and the rest is history. RIP Pam The Funkstress. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>\u003cem>An obsessive collector of underground Bay Area rap cassettes, J. Darrah has chronicled \u003ca href=\"https://12manrambotapes.blogspot.com/\">over 500 Northern California hip-hop tapes from 1985–2000\u003c/a> on his blog, \u003ca href=\"https://12manrambotapes.blogspot.com/\">12ManRambo\u003c/a>. Here, he shares 10 standout tracks from his archive by lesser-known East Palo Alto rap artists.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or its small size, the city of East Palo Alto has contributed immensely to underground Bay Area rap, and its influence goes much deeper than most people know. In fact, when a group of young men from the Fillmore ran into the Beastie Boys on the street in 1992, \u003ca href=\"https://www.youtube.com/watch?v=nYeTat_PB78&ab_channel=Porkys1982\">they got out their boomboxes and played Totally Insane’s East Palo Alto classic \u003cem>Direct From the Backstreet\u003c/em>\u003c/a> to show the Beasties what the hottest Bay Area rap was sounding like at the time.\u003c/p>\n\u003cfigure id=\"attachment_13937089\" class=\"wp-caption aligncenter\" style=\"max-width: 1008px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/totallyinsane.jpg\" alt=\"\" width=\"1008\" height=\"1407\" class=\"size-full wp-image-13937089\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane.jpg 1008w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane-800x1117.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane-160x223.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/totallyinsane-768x1072.jpg 768w\" sizes=\"(max-width: 1008px) 100vw, 1008px\">\u003cfigcaption class=\"wp-caption-text\">Totally Insane, from East Palo Alto, pictured in 1991. \u003ccite>(In-A-Minute Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of that credit goes to master producer Tomie Witherspoon, a.k.a. \u003ca href=\"https://www.discogs.com/artist/329739-TC-8\">T.C.\u003c/a>, a major factor in East Palo Alto who linked Totally Insane’s Ad Kapone and Mac-10 up with the likes of I.M.P., RBL Posse, Dre Dog and other San Francisco artists starting to bubble. At the time, it marked a rare cross-pollination between cities; up to that point (the 1988 \u003ca href=\"https://www.discogs.com/master/172622-The-Dangerous-Crew-Dangerous-Crew\">Dangerous Crew compilation\u003c/a> notwithstanding), rap in the Bay Area was largely hyper-regional. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But something was different with this new EPA/SF connection, something which led to \u003ca href=\"https://www.youtube.com/watch?v=yveN6O38pgg\">countless rap compilations from the mid-’90s\u003c/a> spanning artists from virtually every pocket of the Bay — whereas just a few years prior, it was every artist for themself, struggling to be heard outside of their neighborhood (back)street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story that these 10 tracks tell isn’t one about how a small town had to assimilate into a larger city in order to gain acceptance. It’s about that smaller town coming fully formed from the get-go, with their own style and lingo, and letting their light shine through the whole Bay Area — showing that true “\u003ca href=\"https://www.urbandictionary.com/define.php?term=rogue&page=2\">rogues\u003c/a>” always get their piece of the pie.\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/4EG5lWCt1ng'\n title='//www.youtube.com/embed/4EG5lWCt1ng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>1. Members Only Crew, ‘Rock Your Body’ (1985)\u003c/h2>\n\u003cp>Responsible for what’s likely the very first rap record out of Silicon Valley, the \u003ca href=\"https://www.youtube.com/watch?v=RiU_ysKjoyc\">Members Only Crew\u003c/a> were a group of young Stanford students who essentially created hip-hop radio as a format on campus station \u003ca href=\"https://kzsu.stanford.edu/\">KZSU 90.1 FM\u003c/a>. The two prominent crew members were DJ Kevvy Kev and Jonathan Brown. In addition to establishing \u003cem>The Drum\u003c/em> on KZSU — the longest-running hip-hop radio show in the country — \u003ca href=\"http://trueskool.com/page/dj-kevvy-kev\">Kevvy Kev\u003c/a> was a founding member of Sway & Tech’s \u003ca href=\"https://www.youtube.com/watch?v=HraCuAkZlBU&ab_channel=SWAY%27SUNIVERSE\">Wake Up Show\u003c/a> and later served as tour DJ to the RZA. \u003ca href=\"https://www.discogs.com/artist/248247-Jonathan-Brown\">Jonathan Brown\u003c/a>, a Tulsa transplant turned late ’80s/’90s EPA resident, is an endlessly prolific DJ, producer and MC who created his own eccentric, auteur-like musical universe via his \u003ca href=\"https://www.youtube.com/watch?v=iQgdn5i35uI\">Bass Way International\u003c/a> and \u003ca href=\"https://www.discogs.com/label/32556-Jubwa-Nation-Records\">Jubwa Nation\u003c/a> monikers.\u003c/p>\n\u003cp>Before there was even anything clearly defined as “EPA rap,” the influence of the Members Only Crew on the general region’s street scene was undeniable. Witness the final track of their 1985 four-song EP on their very own Cold Fresh label: the talk box-laced B-boy jam “Rock Your Body,” which showcases Jonathan Brown’s Egyptian Lover-esque freaky flow on each verse and foreshadows his solo “\u003ca href=\"https://www.youtube.com/watch?v=wEuMgpw5j6M&ab_channel=TorstenWolf\">Bass Creator\u003c/a>” sound to come. \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/N_Two3MYH3U'\n title='//www.youtube.com/embed/N_Two3MYH3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>2. Rated X, ‘Be Cool To Your Girl’ (1990)\u003c/h2>\n\u003cp>Rated X were a group outta Midtown consisting of Cool Breeze, DJ Ajax and Captain Crunch, aka \u003ca href=\"https://www.discogs.com/artist/174133-C-Funk\">C-Funk\u003c/a>, who was a major factor in EPA rap while racking up production credits for Conscious Daughters, Rappin’ 4-Tay, Daz and Kurupt from the Dogg Pound and more. \u003c/p>\n\u003cp>“Be Cool To Your Girl” was a local hit, released on the well funded and Cameron Paul-associated label \u003ca href=\"https://www.discogs.com/label/39569-Tandem-Records?sort=year&sort_order=asc\">Tandem Records\u003c/a> (based out of the very un-‘urban’ peninsula town of Burlingame), and was the first of its kind to be played on mainstream radio. Utilizing a jazzy, deceptively rugged sample of Mel & Tim’s “\u003ca href=\"https://www.youtube.com/watch?v=nToIwbn3GJQ\">Keep The Faith\u003c/a>” (much later sampled by the likes of DJ Premier and Madlib), the song was a voice of compassion towards female companions which, \u003ca href=\"https://www.youtube.com/watch?v=Ts4ePdVAQP4\">in an era of heavy bitch ’n hoe raps\u003c/a>, was a breath of fresh air. But it was also a perfect target — whether due to jealousy, or simply to point fingers at a sucker ‘Captain Save a Hoe’ type — for an immediate backlash.\u003c/p>\n\u003cp>Cue Parts Unknown.\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/Ylq1ejZwpDI'\n title='//www.youtube.com/embed/Ylq1ejZwpDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3. Parts Unknown, ‘Another Day In EPA’ (1990)\u003c/h2>\n\u003cp>Released solely on cassette, \u003cem>Time For Turmoil\u003c/em> was essentially a raw, low-budget compilation of rap acts from ‘The Ville,’ The Village, who had a rivalry with Midtown and who finally made their voices heard after a couple years of anonymity. The whole tape starts with the above-mentioned Rated X’s regional hit \u003ca href=\"https://www.youtube.com/watch?v=4EVVaGp6QfQ\">promptly being scraped off the turntable\u003c/a>, and main rapper Kilo G boldly stating “FUCK CRUNCH” after each of his verses, stating “…Crunch has got an attitude / Girls approach him and they find his manner’s plenty rude” — implying that, in reality, the Rated X frontman may not have been so cool to his girls.\u003c/p>\n\u003cp>The tape’s centerpiece is “Another Day In EPA,” a long-winded piece of murderous street storytelling that doubles as an early roll call of fellow Village street stars and rappers. Young Mack and K-9, who went on to form \u003ca href=\"https://www.discogs.com/artist/365346-SIC-4\">S.I.C. (Sic Insane Criminals)\u003c/a>, rhyme over a beat that magically turns Soul II Soul’s “\u003ca href=\"https://www.youtube.com/watch?v=ZVooz47WUOE\">Keep On Movin’\u003c/a>” into mobbed-out menace. Mixed with \u003cem>Ultimate Breaks & Beats\u003c/em> sample staples like James Brown’s “Big Payback” and Esther Williams’ phone-ringing hit “Last Night Changed It All,” the track finds Young Mack cuttin’ town getting “a room at the ‘Cozy'” and later jumpin’ on the “‘Way Way’ to go chill with the n-ggas down in P.A.”\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/qUQJ648MMfQ'\n title='//www.youtube.com/embed/qUQJ648MMfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>4. EPA’s Own Parental Advisory, ‘A N-gga Named Dopestyle’ (1990)\u003c/h2>\n\u003cp>A cassette-only project spearheaded by \u003ca href=\"https://www.discogs.com/artist/219951-MC-Dopestyle\">MC Dopestyle\u003c/a> outta The Gardens, \u003cem>The Cum Song\u003c/em> EP was an all-out assault on rap music and perhaps just music in general. Think the Cold Crush Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=f3Ze773VqLM\">Punk Rock Rap\u003c/a>” flipped on its head — or “Ultramagnetic MCs on steroids,” as a friend once described it — driving much harder into the essence of punk as utter rebellion rather than just a flashy look or surface sound. Dopestyle seeked to destroy. You can hear his frustration and total defiance on “A N-gga Named Dopestyle,” “gunning meatheads down with vocab,” a “pro-Black n-gga” who “drink(s) Clorox” and whose “shit I write is really Black literature.” This man was a true rogue, full of glorious contradictions.\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/BxxbFJLfhCg'\n title='//www.youtube.com/embed/BxxbFJLfhCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>5. Totally Insane, ‘What Ya Know’ (1991)\u003c/h2>\n\u003cp>Chances are you \u003cem>have\u003c/em> heard this one. Considered by many to be \u003cem>the\u003c/em> crown rulers of EPA Rap, Totally Insane consisted of rappers Ad Kapone and Mac-10, featuring supremely solid production — and a connection to San Francisco giants I.M.P., Dre Dog and RBL Posse — via official member \u003ca href=\"https://www.discogs.com/artist/329739-TC-8\">T.C.\u003c/a>\u003c/p>\n\u003cp>On “What Ya Know,” Ad Kapone, in his signature laid-back flow, schools us on his fateful meeting with neighborhood kingpin \u003ca href=\"https://www.discogs.com/artist/8817445\">Mike D. Washington\u003c/a>, who funded much of the group’s early activity. As Ad Kapone explains in his second verse, Washington “Jumped out his drop Benz like a Black god / He stepped to me and pulled out a fat-ass wad / He said ‘With this you will kick the gangster shit, Ad’ / I called up Mac-10 and Mac wasn’t even mad.”\u003c/p>\n\u003cp>With the track’s luxurious gangster flip of Idris Muhammad’s “\u003ca href=\"https://www.youtube.com/watch?v=3GB2w1J8FyY\">Power Of Soul\u003c/a>” that conjures grandiose images of pyramids in the EPA backstreets, it’s no wonder Totally Insane attained such status in the region, and to this day are held in the highest regard.\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/luOXxmygtOs'\n title='//www.youtube.com/embed/luOXxmygtOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>6. Chunk, ‘What Waz I To Do?’ (1992)\u003c/h2>\n\u003cp>A prolific artist who made three full-length albums in the span of just two years on the Tandem label, Chunk was a Midtown rapper graced mainly with classic C-Funk production before hooking up with the mighty \u003ca href=\"https://www.discogs.com/artist/362683-Sean-T-2\">Sean T\u003c/a> in 1993 and signing with \u003ca href=\"https://www.discogs.com/label/59339-Murder-One-Records\">Murder One Records\u003c/a>. Before going solo, Chunk was in a group called Reality with \u003ca href=\"https://www.discogs.com/artist/5038924-Doc-Loui\">Doc Loui\u003c/a> and Ad Kapone of Totally Insane. As Ad recently explained in \u003ca href=\"https://youtu.be/YxGYB18foZ0?si=91YlZiVWdIOGCdIO&t=1279\">a recent interview with Dregs One\u003c/a>, he had to stop making music with them due to the intense rivalry between Midtown and The Ville (Doc Loui was from the latter part of town), with a shootout at the local talent show proving just how heated the funk had gotten.\u003c/p>\n\u003cp>If there was ever a hit single from Chunk, “What Waz I To Do?” was it. Busting hardcore lyrics over a smooth \u003ca href=\"https://www.youtube.com/watch?v=LKFqciMVpI8\">Lonnie Liston Smith sample\u003c/a>, the perfect blend of “street” and “cosmic” is achieved as Chunk runs through the trials and tribulations of growing up in the EPA streets backed by a hopeful soundtrack.\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/IrJhFnVjVaY'\n title='//www.youtube.com/embed/IrJhFnVjVaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>7. Funk Lab All Stars, ‘La Da Da’ (1991)\u003c/h2>\n\u003cp>A heavily P-Funk-inspired project reminiscent of Oakland’s Digital Underground, Funk Lab All Stars were led by C-Funk and included a young \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam The Funkstress\u003c/a> on the turntables. Boots Riley of The Coup once \u003ca href=\"https://m.facebook.com/story.php/?id=520078663&story_fbid=10155969256363664\">told of seeing Pam DJ for Funk Lab in 1992\u003c/a> and being dead-set on hiring her for his own group; she became The Coup’s DJ shortly afterward.\u003c/p>\n\u003cp>“La Da Da” is a silly but playful track and video, and the Funk Lab All Stars’ sole album \u003cem>Music From A Motion Picture Funktrack\u003c/em> is worth checking out for a fun late-night weekend party.\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/Ngnmhkb_jJA'\n title='//www.youtube.com/embed/Ngnmhkb_jJA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>8. Money Marc, Ad Kapone, Doc Loui & … – Demo Track (1991)\u003c/h2>\n\u003cp>When first unearthed, this was thought to be a lost track from Totally Insane’s \u003cem>Crazy Shit\u003c/em> album, which was scrapped due to Mike D. Washington passing away. But after a few listens, it became evident that it’s simply another slammin’-ass track that just never saw a proper release, likely recorded not too long after the release of Totally Insane’s classic \u003cem>Direct From The Backstreets\u003c/em>. Found on an old Maxell cassette, it’s being uploaded for the first time here.\u003c/p>\n\u003cp>The first MC to bat on this buried gem is Money Marc of \u003ca href=\"https://www.discogs.com/artist/785633-Neva-Legal\">Neva Legal\u003c/a>, a group that didn’t have a proper full-length release until 1998. The track is definitely rough and unfinished, as evidenced by the gritty, slightly slap-backed delay on Ad Kapone’s vocals on the second verse, sonically inconsistent with the other rappers’ sound. Ad slays the track, rhyming “test a ‘G'” with “recipe,” and the third verse features an pre-pubescent sounding Doc Loui rapping about the “first day in my life as a gangster,” during which he robs a local bank with his posse and makes a quick getaway from the cops “cuz they just too slow.” \u003c/p>\n\u003cp>The intro’s impression of then-president George Bush Sr. is comedy gold, claiming that those awful East Palo Alto Guys “are pulling too many jacks, and uhhh selling too many sacks…and it’s just uhhh ruining the nation.”\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/vpN-KWPBc98'\n title='//www.youtube.com/embed/vpN-KWPBc98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>9. M.O.G. – P.A. Thang (1992)\u003c/h2>\n\u003cp>While helping lead the Bay Area into a new era of mobb music with less samples and more live instrumentation, Sean T of M.O.G. (\u003ca href=\"https://www.discogs.com/artist/2914416\">Murder One Gangster\u003c/a>) gained massive cred blessing \u003ca href=\"https://www.discogs.com/artist/362683-Sean-T-2?superFilter=Credits\">artists from all around the Bay\u003c/a> with his unforeseen levels of musical talent. (Ever witnessed the club go crazy to Mac Dre’s “Feelin’ Myself”? That’s Sean T’s beat, right there.)\u003c/p>\n\u003cp>Along with G-Man Stan — the guitarist, engineer, producer and head of the Oakland-based \u003ca href=\"https://www.discogs.com/label/414121-Find-A-Way-Studios\">Find A Way Studios\u003c/a> — Sean T went on to define the EPA sound of the mid-’90s. The two formed \u003ca href=\"https://www.discogs.com/label/56694-Young-Gotti-Records\">Young Gotti Records\u003c/a> in 1996 and released Sean’s classic LP \u003ca href=\"https://www.discogs.com/release/2958772-Sean-T-Pimp-Lyrics-Dollar-Signs\">Pimp Lyrics & Dollar Signs\u003c/a>, among many others. \u003c/p>\n\u003cp>“P.A. Thang” is a slow-rolling, pimped-out track, with Sean and his groupmates Top Dog and Kaos narrating what it’s like to live and die in the EPA streets.\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/ieS77wvQOcQ'\n title='//www.youtube.com/embed/ieS77wvQOcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>10. Female Fonk – Sucka Free\u003c/h2>\n\u003cp>Responsible for perhaps the first rap to turn Juicy’s “\u003ca href=\"https://www.youtube.com/watch?v=lHLCxviD7oY\">Sugar Free\u003c/a>” into a play on words, \u003ca href=\"https://www.discogs.com/artist/981327-Female-Fonk\">Female Fonk\u003c/a> were the duo of Ju Boo and Pam The Funkstress, signed to \u003ca href=\"https://www.discogs.com/label/97700-Buck-Fifty-Records\">Buck Fifty Records\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With labelmates like Rappin’ 4-Tay and San Quinn, it’s a wonder that these two didn’t do more damage than a cassette-only release. But Pam was quickly snatched up by Boots Riley of The Coup, and the rest is history. RIP Pam The Funkstress. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s among the most tired, inaccurate lines arts-lovers are used to hearing in the Bay Area: \u003cem>all the musicians are gone.\u003c/em>\u003c/p>\n\u003cp>It is true that it takes a \u003ca href=\"https://www.kqed.org/arts/13829537/the-hustle-a-snapshot-of-artists-finances-in-the-bay-area\">staggering amount of hustle\u003c/a> to survive as a working artist here in one of the most expensive regions in the U.S. — which means the folks who are doing it need every ounce of support, appreciation and celebration the community can muster.[aside postid='arts_13930570']\u003c/p>\n\u003cp>That’s part of what staff at the San Francisco Public Library had in mind when they announced \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a>, a free, streamable collection of albums from more than 100 local artists, in genres including jazz, soul, hip-hop, classical, indie rock and more. The platform launches Oct. 28 with a daylong party at the main library, including performances by a half-dozen artists whose work was selected to appear in the collection.\u003c/p>\n\u003cp>It’s a party nearly six months in the making: The SFPL first issued an open call for submissions back in May, announcing that any artist working in the nine-county Bay Area region was eligible. Over the following three months, more than 600 submissions were considered by an all-star panel of jurors, including the library’s own staff archivist, Avengers frontwoman and punk icon Penelope Houston; rapper, graffiti artist and \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">hip-hop historian Dregs One\u003c/a>; and Latin-rhythms-by-way-of-San Francisco singer, community activist and \u003ca href=\"https://www.kqed.org/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists\">rising star La Doña\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13936903\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/image-800x741.jpg\" alt=\"a band of five people, most of them in cowboy hats, performs on an outdoor stage at El Rio, a bar in the Mission District of San Francisco\" width=\"800\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-800x741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-1020x945.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-768x711.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image.jpg 1440w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nashville Honeymoon is one of 100 Bay Area artists who were selected to have their music uploaded to the San Francisco Public Library’s new streaming platform for local music, Bay Beats. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For anyone wondering whether we’ve still got it, I can personally assure you that the music scene in San Francisco and beyond is alive and well,” librarian Brian Weaver, who helped launch the program, said in a statement. “The talent we saw from the submissions round was phenomenal and it was a real challenge to be able to select only 100 albums … We can’t wait for everyone to discover bands and artists they’ve never heard before.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The word discovery is key here, as the platform doesn’t stand to serve as a meaningful source of income for musicians; each artist selected received a one-time $250 honorarium.\u003c/p>\n\u003cp>[aside postid='arts_13936509']But a free streaming platform hosted by a nonprofit educational space — amplifying local artists and ensuring access to even the community’s lowest-income residents — certainly flips the script laid out by the music industry’s current vulture-like giants. \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">Spotify\u003c/a>, for example, pays an average of between $0.003 and $0.005 per stream, meaning an artist needs between 50,000 and 80,000 streams to even receive $250. Meanwhile Bandcamp, known for the last 15 years as the most artist-friendly site on which to stream and download music, faces a deeply uncertain future following a buyout and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">mass layoffs at the Oakland-based company\u003c/a>.\u003c/p>\n\u003cp>What the library has effectively done is absorb the cost of the necessary tech partnership; the Bay Beats platform is powered by the software company Rabble, which has also helped libraries in Austin, Seattle, Nashville, New Orleans and Portland set up streaming sites to celebrate their local music scenes. At the SFPL, the music on Bay Beats will be free to all users, but — as if you needed extra incentive to get a library card — it will also be downloadable for cardholders.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LbBiqH_Bsjs\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThe artists performing at Saturday’s launch are a testament to the breadth of the music being made in the Bay: The day will feature 30- to 40-minute sets from children’s artist Alison Faith Levy; honkytonk/“California Country” from Nashville Honeymoon; hip-hop by UnLearn the World; neo-soul from veterans Tori Roze & The Hot Mess; eclectic multilingual tunes by Razteria and moody pop from gloomy june.[aside postid='arts_13930122']\u003c/p>\n\u003cp>So go celebrate the launch, stream some music on Bay Beats, discover your new favorite local artists — and then go to their shows. Buy their records and T-shirts. Send them (respectful) love letters. And maybe, some day, we won’t have to spend time combatting the tired narrative that they don’t exist at all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay Beats Local Music Collection launch party takes place Saturday, Oct. 28 from 11 a.m. to 4:30 p.m. in Fulton Plaza at San Francisco’s Main Library, near Civic Center. Free. \u003ca href=\"https://baybeats.sfpl.org/\">More info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s part of what staff at the San Francisco Public Library had in mind when they announced \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a>, a free, streamable collection of albums from more than 100 local artists, in genres including jazz, soul, hip-hop, classical, indie rock and more. The platform launches Oct. 28 with a daylong party at the main library, including performances by a half-dozen artists whose work was selected to appear in the collection.\u003c/p>\n\u003cp>It’s a party nearly six months in the making: The SFPL first issued an open call for submissions back in May, announcing that any artist working in the nine-county Bay Area region was eligible. Over the following three months, more than 600 submissions were considered by an all-star panel of jurors, including the library’s own staff archivist, Avengers frontwoman and punk icon Penelope Houston; rapper, graffiti artist and \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">hip-hop historian Dregs One\u003c/a>; and Latin-rhythms-by-way-of-San Francisco singer, community activist and \u003ca href=\"https://www.kqed.org/arts/13913890/la-dona-ybca-san-francisco-guaranteed-income-pilot-artists\">rising star La Doña\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/image.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13936903\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/image-800x741.jpg\" alt=\"a band of five people, most of them in cowboy hats, performs on an outdoor stage at El Rio, a bar in the Mission District of San Francisco\" width=\"800\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-800x741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-1020x945.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image-768x711.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/image.jpg 1440w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nashville Honeymoon is one of 100 Bay Area artists who were selected to have their music uploaded to the San Francisco Public Library’s new streaming platform for local music, Bay Beats. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For anyone wondering whether we’ve still got it, I can personally assure you that the music scene in San Francisco and beyond is alive and well,” librarian Brian Weaver, who helped launch the program, said in a statement. “The talent we saw from the submissions round was phenomenal and it was a real challenge to be able to select only 100 albums … We can’t wait for everyone to discover bands and artists they’ve never heard before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But a free streaming platform hosted by a nonprofit educational space — amplifying local artists and ensuring access to even the community’s lowest-income residents — certainly flips the script laid out by the music industry’s current vulture-like giants. \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\">Spotify\u003c/a>, for example, pays an average of between $0.003 and $0.005 per stream, meaning an artist needs between 50,000 and 80,000 streams to even receive $250. Meanwhile Bandcamp, known for the last 15 years as the most artist-friendly site on which to stream and download music, faces a deeply uncertain future following a buyout and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">mass layoffs at the Oakland-based company\u003c/a>.\u003c/p>\n\u003cp>What the library has effectively done is absorb the cost of the necessary tech partnership; the Bay Beats platform is powered by the software company Rabble, which has also helped libraries in Austin, Seattle, Nashville, New Orleans and Portland set up streaming sites to celebrate their local music scenes. At the SFPL, the music on Bay Beats will be free to all users, but — as if you needed extra incentive to get a library card — it will also be downloadable for cardholders.\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/LbBiqH_Bsjs'\n title='//www.youtube.com/embed/LbBiqH_Bsjs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThe artists performing at Saturday’s launch are a testament to the breadth of the music being made in the Bay: The day will feature 30- to 40-minute sets from children’s artist Alison Faith Levy; honkytonk/“California Country” from Nashville Honeymoon; hip-hop by UnLearn the World; neo-soul from veterans Tori Roze & The Hot Mess; eclectic multilingual tunes by Razteria and moody pop from gloomy june.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So go celebrate the launch, stream some music on Bay Beats, discover your new favorite local artists — and then go to their shows. Buy their records and T-shirts. Send them (respectful) love letters. And maybe, some day, we won’t have to spend time combatting the tired narrative that they don’t exist at all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay Beats Local Music Collection launch party takes place Saturday, Oct. 28 from 11 a.m. to 4:30 p.m. in Fulton Plaza at San Francisco’s Main Library, near Civic Center. Free. \u003ca href=\"https://baybeats.sfpl.org/\">More info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s always a bright moment in the Bay Area whenever \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\">Rexx Life Raj\u003c/a> — Berkeley’s ascendant, bluesy rapper — drops a new album.\u003c/p>\n\u003cp>Over the past decade, Raj has been on a dynastic run of spiritual music-making. With each release, he’s built a trademark sound as an introspective, emotionally charged lyricist who can shift seamlessly from \u003ca href=\"https://www.youtube.com/watch?v=LGa1Gbt3ElA\">bragging about owning Teslas\u003c/a> to deeply \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">mourning the loss of his parents\u003c/a>.\u003c/p>\n\u003cp>Now, he returns with \u003ci>California Poppy 3\u003c/i>, the third installment in an ongoing series. The \u003ci>California Poppy\u003c/i> triumvirate spans more than six years of Raj’s life, and maintains a unifying sound and theme that feel like one endlessly expansive album, with each installment arriving a few years apart. With messages about self-love and coping through trauma, his music has become a sort of audio medicine for fans.\u003c/p>\n\u003cp>Featuring local rap stars with epic statures of their own like Kamaiyah, Damian Lillard and LaRussell, \u003cem>California Poppy 3\u003c/em> is as soulful and summery as Raj’s previous explorations on joyful West Coast living.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IsU51o2zyys\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Singles like “\u003ca href=\"https://www.youtube.com/watch?v=Opij5eEKNBM\">Dandelion Root\u003c/a>” exemplify the rapper’s sense of intentional living and aphoristic wisdom. Over an acoustic-washed instrumental, he scorns his generation’s addiction to lustful attention-seeking: “Slow motion better than no motion, gradual ascension… I can’t trust no [man] that free his morals to grab attention / After you done hoeing yourself out, what you gon’ tell your children?”\u003c/p>\n\u003cp>Across the album, Raj — a former football player — is like a sage village elder rhapsodizing about his mistakes, his accomplishments, and his aspirations for a brighter outcome. With a subdued style in contrast to the typical frequency of aggressively cocky rap, he’s carved out a clear and necessary lane in an overcrowded genre. Rather than overpowering the listener with empty production or unchecked egoism, his toned-down vocals are refreshing, uplifting and soul-repairing.\u003c/p>\n\u003cp>But the thing about Raj is that he knows how to flex, too. In the saucy video for “\u003ca href=\"https://www.youtube.com/watch?v=G_8fURKT_yE\">Backslide\u003c/a>,” he rides around Barcelona in foreign machinery while wearing a handwoven tie-dye hat and Makaveli T-shirt, displaying a hard-earned, lavish lifestyle. For a kid from Telegraph Avenue who just a few years ago rapped “Look, I ain’t never had shit / I always wanted more, though,” he’s certainly made it.\u003c/p>\n\u003cp>Just a few days ago, Rexx posted that “i’ve always had an idealized version of myself in my mind. life is the never ending journey to reach him.” In \u003cem>California Poppy 3\u003c/em>, he’s one step closer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rexx Life Raj’s release party for ‘California Poppy 3’ is on Sunday, Oct. 29, at Victory Hall (360 Ritch St., San Francisco) from 6 p.m. to 10 p.m. \u003ca href=\"https://partiful.com/e/gG7dUmvHnsRlDApLO7pw\">Details and RSVP here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s always a bright moment in the Bay Area whenever \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\">Rexx Life Raj\u003c/a> — Berkeley’s ascendant, bluesy rapper — drops a new album.\u003c/p>\n\u003cp>Over the past decade, Raj has been on a dynastic run of spiritual music-making. With each release, he’s built a trademark sound as an introspective, emotionally charged lyricist who can shift seamlessly from \u003ca href=\"https://www.youtube.com/watch?v=LGa1Gbt3ElA\">bragging about owning Teslas\u003c/a> to deeply \u003ca href=\"https://www.kqed.org/arts/13915940/rexx-life-raj-the-blue-hour-empire\">mourning the loss of his parents\u003c/a>.\u003c/p>\n\u003cp>Now, he returns with \u003ci>California Poppy 3\u003c/i>, the third installment in an ongoing series. The \u003ci>California Poppy\u003c/i> triumvirate spans more than six years of Raj’s life, and maintains a unifying sound and theme that feel like one endlessly expansive album, with each installment arriving a few years apart. With messages about self-love and coping through trauma, his music has become a sort of audio medicine for fans.\u003c/p>\n\u003cp>Featuring local rap stars with epic statures of their own like Kamaiyah, Damian Lillard and LaRussell, \u003cem>California Poppy 3\u003c/em> is as soulful and summery as Raj’s previous explorations on joyful West Coast living.\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/IsU51o2zyys'\n title='//www.youtube.com/embed/IsU51o2zyys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Singles like “\u003ca href=\"https://www.youtube.com/watch?v=Opij5eEKNBM\">Dandelion Root\u003c/a>” exemplify the rapper’s sense of intentional living and aphoristic wisdom. Over an acoustic-washed instrumental, he scorns his generation’s addiction to lustful attention-seeking: “Slow motion better than no motion, gradual ascension… I can’t trust no [man] that free his morals to grab attention / After you done hoeing yourself out, what you gon’ tell your children?”\u003c/p>\n\u003cp>Across the album, Raj — a former football player — is like a sage village elder rhapsodizing about his mistakes, his accomplishments, and his aspirations for a brighter outcome. With a subdued style in contrast to the typical frequency of aggressively cocky rap, he’s carved out a clear and necessary lane in an overcrowded genre. Rather than overpowering the listener with empty production or unchecked egoism, his toned-down vocals are refreshing, uplifting and soul-repairing.\u003c/p>\n\u003cp>But the thing about Raj is that he knows how to flex, too. In the saucy video for “\u003ca href=\"https://www.youtube.com/watch?v=G_8fURKT_yE\">Backslide\u003c/a>,” he rides around Barcelona in foreign machinery while wearing a handwoven tie-dye hat and Makaveli T-shirt, displaying a hard-earned, lavish lifestyle. For a kid from Telegraph Avenue who just a few years ago rapped “Look, I ain’t never had shit / I always wanted more, though,” he’s certainly made it.\u003c/p>\n\u003cp>Just a few days ago, Rexx posted that “i’ve always had an idealized version of myself in my mind. life is the never ending journey to reach him.” In \u003cem>California Poppy 3\u003c/em>, he’s one step closer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rexx Life Raj’s release party for ‘California Poppy 3’ is on Sunday, Oct. 29, at Victory Hall (360 Ritch St., San Francisco) from 6 p.m. to 10 p.m. \u003ca href=\"https://partiful.com/e/gG7dUmvHnsRlDApLO7pw\">Details and RSVP here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation",
"headTitle": "Queer Metal Band Ragana Casts ‘Modern Spells’ for Liberation | KQED",
"content": "\u003cp>When \u003ca href=\"https://ragana.bandcamp.com/\">Ragana\u003c/a> first contacted San Francisco metal label \u003ca href=\"https://nowflensing.com/?gclid=CjwKCAjws9ipBhB1EiwAccEi1IToOlYKgyTaoGOFe3buDvkVfoK8TE3MfOKkXprBMXtBlTPQspLHnBoCRksQAvD_BwE\">The Flenser\u003c/a> about releasing their music, they sent them their first two tapes in a box filled with moss. Everything the metal duo does seems to be in the service of some kind of spell — something that Coley, one of the band’s two mononymous multi-instrumentalists, defines as “bringing an idea into reality.”\u003c/p>\n\u003cp>“I feel like we’re doing magic, but not in some esoteric way,” says Coley. “If you say ‘witchcraft,’ it brings up a lot of connotations of spooky things, but I feel more the ability to make people see things that are right in front of their eyes, the ability to change people’s emotions and feelings.”\u003c/p>\n\u003cp>Ragana (pronounced RAHG-a-na — Latvian and Lithuanian for “witch”) is split between Olympia, Wash., where Coley lives, and Oakland, where fellow drummer-guitarist-singer Maria lives. Both are cities with long histories of activism, and Ragana, which identifies as a “queer antifascist black metal/doom duo,” sees its “modern spells” as a conduit for social and political change.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Desolation’s Flower\u003c/em> (out October 27) is their first album for The Flenser, which has become a hub for eccentric, innovative and heavy music since San Francisco native Jonathan Tuite founded it in 2010. The seven songs on \u003cem>Desolation’s Flower\u003c/em> include the title track, a “hymn to queer and trans ancestors,” and “DTA” (“Death to America”), which literalizes the concept of protest music by integrating a field recording from the 2020 George Floyd protests in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanted to tie in the actual sound of a movement, a revolution of people living and breathing and experiencing in that moment,” says Maria. “It’s really powerful to hear that energy, and stressful to tear gas hitting the ground and cops and people chanting. It’s a feeling I wanted to invite into our music and have people think about. I just want people to think about revolution.”\u003c/p>\n\u003cp>Coley and Maria met in 2011 in Olympia, a focal point for the raw and atmospheric style of metal that’s come to be associated with the Pacific Northwest and its rainy, rugged landscape. They first bonded over Wolves in the Throne Room, one of Olympia’s most influential metal bands.\u003c/p>\n\u003cp>“The first time we ever met was at a grocery store,” says Coley. “We were each with a different friend, and I was wearing a Wolves in the Throne Room T-shirt, and Maria thought it was cool, which was very flattering. Our mutual friends encouraged us to meet and play music together.” [aside label='More Music Coverage' postid='arts_13928718,arts_13936776,arts_13936614']\u003c/p>\n\u003cp>The duo works in a style that has often been described as “blackened doom metal” — a fusion of the foreboding crawl of doom metal with the rugged, elemental sound of black metal. “The two of us wanted to play something that felt unique and heavy and dark and beautiful,” says Maria.\u003c/p>\n\u003cp>Both musicians describe themselves as “drummers first” and trade vocal, songwriting and guitar duties. Maria describes her songwriting style as simpler and more lyrics-driven, while Coley describes their own style as more complex. “Maria writes catchier hits,” Coley jokes.\u003c/p>\n\u003cp>Ragana’s catchiest hit to date is 2017’s “You Take Nothing.” No one leaves a Ragana show without its titular refrain in their head, which Maria shouts over and over again like a shamanic invocation against evil. At the band’s performance at the Swedish American Hall at 2022’s \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, opening for the legendary Northwest indie-folk project The Microphones, the duo led the crowd in an ecstatic shout-along that seemed to energize the audience and lift the spirits in the room.\u003c/p>\n\u003cp>The two musicians’ frequent switching between instruments at live shows lends an element of unpredictability to their performances. “The band just wouldn’t be the same if we weren’t switching instruments on each song and writing different songs,” says Coley. “It renews or changes the energy when we switch instruments, which is cool to experience as a musician.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For all its musical innovation, heavy metal can be a surprisingly conservative genre, with a strong reactionary streak. This is \u003ca href=\"https://www.cjr.org/first_person/heavy-metal-capitol-spotting-nazis.php\">especially true in black metal\u003c/a>, some of whose stars have openly expressed racist, homophobic and fascist views.\u003c/p>\n\u003cp>So how are metal fans reacting to a proudly queer duo going against the grain? Coley says that, aside from “people making up comments on random metal websites,” the band has largely avoided hostility from the wider scene.\u003c/p>\n\u003cp>“In real life we’ve chosen to surround ourselves with people who we respect and who respect us and share a similar commitment to expansiveness in music and less of an obsession with strictly defining labels and gatekeeping who can do what,” says Coley.\u003c/p>\n\u003cfigure id=\"attachment_13936854\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/ragana-3.jpg\" alt=\"Maria strums her guitar and Coley plays drums at Ragana's live performance at Hollywood Forever in Los Angeles.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Ragana’s Maria (left) and Coley (right) both sing and play guitar and drums. They often switch instruments during shows. \u003ccite>(Debi Del Grande )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flenser has become something of a hub for heavy bands that embrace open-mindedness in both music and philosophy. Ragana’s labelmates include \u003ca href=\"https://agriculturemusic.bandcamp.com/album/agriculture\">Agriculture\u003c/a>, an “ecstatic black metal” band co-fronted by trans musician and writer \u003ca href=\"https://leahlevinson.info/\">Leah B. Levinson\u003c/a>, and \u003ca href=\"https://chatpile.bandcamp.com/\">Chat Pile\u003c/a>, an Oklahoma band whose music deals uncompromisingly with American industrial and infrastructural decay.\u003c/p>\n\u003cp>Ragana will celebrate the release of \u003cem>Desolation’s Flower\u003c/em> on Nov. 3 with a show at \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Eli’s Mile High Club in Oakland\u003c/a>, joined by two like-minded East Bay bands: punk-doom band \u003ca href=\"https://kimaband.bandcamp.com/\">KIM\u003c/a> and industrial noise-rock quartet \u003ca href=\"https://chereeusa.bandcamp.com/album/factory\">Cheree\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is an inspiring place,” says Maria. “In Oakland, there’s a lot of openness to ideas, openness to people living in different ways. And I think it has just brought out a lot of inspiration that life can be uplifted, revolutions can happen and people can be inspired and changed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ragana performs at Eli’s Mile High Club in Oakland with KIM and Cheree on Nov. 3. \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://ragana.bandcamp.com/\">Ragana\u003c/a> first contacted San Francisco metal label \u003ca href=\"https://nowflensing.com/?gclid=CjwKCAjws9ipBhB1EiwAccEi1IToOlYKgyTaoGOFe3buDvkVfoK8TE3MfOKkXprBMXtBlTPQspLHnBoCRksQAvD_BwE\">The Flenser\u003c/a> about releasing their music, they sent them their first two tapes in a box filled with moss. Everything the metal duo does seems to be in the service of some kind of spell — something that Coley, one of the band’s two mononymous multi-instrumentalists, defines as “bringing an idea into reality.”\u003c/p>\n\u003cp>“I feel like we’re doing magic, but not in some esoteric way,” says Coley. “If you say ‘witchcraft,’ it brings up a lot of connotations of spooky things, but I feel more the ability to make people see things that are right in front of their eyes, the ability to change people’s emotions and feelings.”\u003c/p>\n\u003cp>Ragana (pronounced RAHG-a-na — Latvian and Lithuanian for “witch”) is split between Olympia, Wash., where Coley lives, and Oakland, where fellow drummer-guitarist-singer Maria lives. Both are cities with long histories of activism, and Ragana, which identifies as a “queer antifascist black metal/doom duo,” sees its “modern spells” as a conduit for social and political change.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1593529578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Desolation’s Flower\u003c/em> (out October 27) is their first album for The Flenser, which has become a hub for eccentric, innovative and heavy music since San Francisco native Jonathan Tuite founded it in 2010. The seven songs on \u003cem>Desolation’s Flower\u003c/em> include the title track, a “hymn to queer and trans ancestors,” and “DTA” (“Death to America”), which literalizes the concept of protest music by integrating a field recording from the 2020 George Floyd protests in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wanted to tie in the actual sound of a movement, a revolution of people living and breathing and experiencing in that moment,” says Maria. “It’s really powerful to hear that energy, and stressful to tear gas hitting the ground and cops and people chanting. It’s a feeling I wanted to invite into our music and have people think about. I just want people to think about revolution.”\u003c/p>\n\u003cp>Coley and Maria met in 2011 in Olympia, a focal point for the raw and atmospheric style of metal that’s come to be associated with the Pacific Northwest and its rainy, rugged landscape. They first bonded over Wolves in the Throne Room, one of Olympia’s most influential metal bands.\u003c/p>\n\u003cp>“The first time we ever met was at a grocery store,” says Coley. “We were each with a different friend, and I was wearing a Wolves in the Throne Room T-shirt, and Maria thought it was cool, which was very flattering. Our mutual friends encouraged us to meet and play music together.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The duo works in a style that has often been described as “blackened doom metal” — a fusion of the foreboding crawl of doom metal with the rugged, elemental sound of black metal. “The two of us wanted to play something that felt unique and heavy and dark and beautiful,” says Maria.\u003c/p>\n\u003cp>Both musicians describe themselves as “drummers first” and trade vocal, songwriting and guitar duties. Maria describes her songwriting style as simpler and more lyrics-driven, while Coley describes their own style as more complex. “Maria writes catchier hits,” Coley jokes.\u003c/p>\n\u003cp>Ragana’s catchiest hit to date is 2017’s “You Take Nothing.” No one leaves a Ragana show without its titular refrain in their head, which Maria shouts over and over again like a shamanic invocation against evil. At the band’s performance at the Swedish American Hall at 2022’s \u003ca href=\"https://www.kqed.org/arts/tag/noise-pop\">Noise Pop\u003c/a>, opening for the legendary Northwest indie-folk project The Microphones, the duo led the crowd in an ecstatic shout-along that seemed to energize the audience and lift the spirits in the room.\u003c/p>\n\u003cp>The two musicians’ frequent switching between instruments at live shows lends an element of unpredictability to their performances. “The band just wouldn’t be the same if we weren’t switching instruments on each song and writing different songs,” says Coley. “It renews or changes the energy when we switch instruments, which is cool to experience as a musician.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1871941623/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>For all its musical innovation, heavy metal can be a surprisingly conservative genre, with a strong reactionary streak. This is \u003ca href=\"https://www.cjr.org/first_person/heavy-metal-capitol-spotting-nazis.php\">especially true in black metal\u003c/a>, some of whose stars have openly expressed racist, homophobic and fascist views.\u003c/p>\n\u003cp>So how are metal fans reacting to a proudly queer duo going against the grain? Coley says that, aside from “people making up comments on random metal websites,” the band has largely avoided hostility from the wider scene.\u003c/p>\n\u003cp>“In real life we’ve chosen to surround ourselves with people who we respect and who respect us and share a similar commitment to expansiveness in music and less of an obsession with strictly defining labels and gatekeeping who can do what,” says Coley.\u003c/p>\n\u003cfigure id=\"attachment_13936854\" class=\"wp-caption aligncenter\" style=\"max-width: 2500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936854\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/ragana-3.jpg\" alt=\"Maria strums her guitar and Coley plays drums at Ragana's live performance at Hollywood Forever in Los Angeles.\" width=\"2500\" height=\"1667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3.jpg 2500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/ragana-3-1920x1280.jpg 1920w\" sizes=\"(max-width: 2500px) 100vw, 2500px\">\u003cfigcaption class=\"wp-caption-text\">Ragana’s Maria (left) and Coley (right) both sing and play guitar and drums. They often switch instruments during shows. \u003ccite>(Debi Del Grande )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flenser has become something of a hub for heavy bands that embrace open-mindedness in both music and philosophy. Ragana’s labelmates include \u003ca href=\"https://agriculturemusic.bandcamp.com/album/agriculture\">Agriculture\u003c/a>, an “ecstatic black metal” band co-fronted by trans musician and writer \u003ca href=\"https://leahlevinson.info/\">Leah B. Levinson\u003c/a>, and \u003ca href=\"https://chatpile.bandcamp.com/\">Chat Pile\u003c/a>, an Oklahoma band whose music deals uncompromisingly with American industrial and infrastructural decay.\u003c/p>\n\u003cp>Ragana will celebrate the release of \u003cem>Desolation’s Flower\u003c/em> on Nov. 3 with a show at \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Eli’s Mile High Club in Oakland\u003c/a>, joined by two like-minded East Bay bands: punk-doom band \u003ca href=\"https://kimaband.bandcamp.com/\">KIM\u003c/a> and industrial noise-rock quartet \u003ca href=\"https://chereeusa.bandcamp.com/album/factory\">Cheree\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is an inspiring place,” says Maria. “In Oakland, there’s a lot of openness to ideas, openness to people living in different ways. And I think it has just brought out a lot of inspiration that life can be uplifted, revolutions can happen and people can be inspired and changed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ragana performs at Eli’s Mile High Club in Oakland with KIM and Cheree on Nov. 3. \u003ca href=\"https://www.eventbrite.com/e/ragana-record-release-show-with-kim-cheree-tickets-713870815827?aff=oddtdtcreator\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor",
"headTitle": "E-40 Gets the Key to the City of Vallejo and a Street Named in His Honor | KQED",
"content": "\u003cp>On Saturday, Vallejo Mayor Robert McConnell handed the key to the city to one of its biggest musical icons: E-40.\u003c/p>\n\u003cp>“I didn’t even know anywhere else. I only knew 4 blocks. I was just a ghetto child. I never thought I’d be selling tapes out of the trunk of the car over at M&M liquor to having my \u003cem>own\u003c/em> liquor,” said Earl Stevens, aka E-40, at the ceremony on a stretch of Magazine Street that now bears the honorary street sign E-40 Way. It marks the neighborhood where he was raised and began his chart-topping career.\u003c/p>\n\u003cfigure id=\"attachment_13936795\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936795 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can see the type of talent this city has produced over many many decades,” said Mayor McConnell, addressing the crowd of hundreds that gathered for the ceremony. “Continuously when you move throughout the Bay Area and when you live in other cities, you meet people who say ‘I grew up and I lived in Vallejo,’ and they’re very proud of it.”\u003c/p>\n\u003cp>“So we want to acknowledge his success, and more importantly, we want to acknowledge his contributions to the city,” added McConnell.\u003c/p>\n\u003cfigure id=\"attachment_13936788\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936788 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg\" alt=\"Vallejo High School cheerleaders perform at Earl “E-40” Stevens’ honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo High School cheerleaders perform at Earl ‘E-40’ Stevens’ honorary ceremony, with E-40 (right) sitting beside Vallejo Mayor Robert McConnell on stage. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-born hip-hop and hyphy artist Mistah F.A.B., master of ceremonies at the event, said E-40 was somebody he grew up idolizing as an artist and as a person.\u003c/p>\n\u003cp>“Today is about being here for somebody that has opened up doors, somebody that has pioneered and championed what it is like to be not only an artist, but to be an entrepreneur, to be a father, to be a friend, to be a family member, to be a great business man,” said Mistah F.A.B., who is also a community organizer, entrepreneur and activist. “I think that you guys are just as proud as we are and we’re happy. … This is a beautiful moment, man.”\u003c/p>\n\u003cfigure id=\"attachment_13936789\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936789 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s family members sit in the audience during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s family members sit in the audience during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40 is a name practically synonymous with \u003ca href=\"http://kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, and he’s enjoyed impressive career longevity rarely seen in rap. He got his start in the late ’80s as a member of The Click, a group that also featured his sister Suga-T, brother D-Shot and cousin B-Legit.\u003c/p>\n\u003cp>Along with peers like Too Short, E-40 set the standard for independent music distribution by selling tapes “out the trunk.” His label Sick Wid It Records later signed a distribution deal with Jive, and The Click’s second album, 1995’s \u003cem>Game Related\u003c/em>, peaked at No. 21.\u003c/p>\n\u003cfigure id=\"attachment_13936794\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936794 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a good opportunity for the kids that are coming up here, to build something positive for the children coming up in Vallejo,” said Vallejo resident Rosalyn Robinson. “I think it’s a monumental event, giving Vallejo that credit that’s well needed. E-40 has been in the game for four decades, and this celebration is way past.”\u003c/p>\n\u003cp>[aside postID=arts_13935408 hero='https://ww2.kqed.org/app/uploads/sites/2/2023/09/HKGT-part-2-web-image-1020x574.png']In 1993, E-40 launched his solo career with the album \u003cem>Federal\u003c/em> and continued collaborating with members of The Click on hits like 1995’s “Sprinkle Me” featuring Suga-T as his national profile grew. He’s credited with inventing and popularizing many Bay Area slang terms — such as “broccoli” for cannabis, “fasheezy” and “flamboastin’.”\u003c/p>\n\u003cp>E-40’s hit-making streak continued with the 2006 smash “Tell Me When To Go,” which came to define hyphy — the local, hard-partying rap subculture — for the rest of the country. His 2014 song “Choices” became a Golden State Warriors anthem that amped up the team during its championship games.\u003c/p>\n\u003cfigure id=\"attachment_13936792\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936792 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dennis Lastra, who grew up next-door to Stevens in his grandmother’s house, said despite all the success and the accomplishments, E-40 was always humble and always made sure to visit them whenever he was in Vallejo.\u003c/p>\n\u003cp>“I’m just so proud of him, man. Because like, just from day one, I seen her struggle as a single mother, and she raised her kids,” said Lastra of Earl Stevens’ mother, who raised him and his siblings as a single parent. “\u003cb>\u003c/b>I give all props to that man. … You feel that gratitude that he has. It’s just humbling to hear that from someone that has achieved so much. … And the hard way, it wasn’t the easy way.”\u003c/p>\n\u003cfigure id=\"attachment_13936791\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936791 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg\" alt=\"E-40 Way seen on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 Way in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, E-40 collaborated with younger Bay Area artists like P-Lo and national rap stars, including Snoop Dogg, T.I. and Ice Cube. While continuing to make music, he’s shifted his energy toward his philanthropy and liquor and food businesses. He has a forthcoming cookbook with Snoop Dogg, \u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/untitled-snoop-cookbook-2\">Goon With the Spoon\u003c/a>\u003c/em>, out Nov. 14 via Chronicle Books.\u003c/p>\n\u003cfigure id=\"attachment_13936790\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936790 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens speaks during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens speaks during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“E-40 is a trailblazer and he’s opened up many doors for young people to walk through,” said Rosalyn Robinson. “He’s very humble, always been humble. He’s always been loyal. And I think it’s important for the kids to see, and it’s important for events like this to keep happening.”\u003c/p>\n\u003cp>\u003cem>KQED’s Attila Pelit contributed to this story.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Vallejo's mayor unveiled E-40 Way on Magazine Street, honoring the neighborhood where the Bay Area rap legend was raised and began his chart-topping career.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Saturday, Vallejo Mayor Robert McConnell handed the key to the city to one of its biggest musical icons: E-40.\u003c/p>\n\u003cp>“I didn’t even know anywhere else. I only knew 4 blocks. I was just a ghetto child. I never thought I’d be selling tapes out of the trunk of the car over at M&M liquor to having my \u003cem>own\u003c/em> liquor,” said Earl Stevens, aka E-40, at the ceremony on a stretch of Magazine Street that now bears the honorary street sign E-40 Way. It marks the neighborhood where he was raised and began his chart-topping career.\u003c/p>\n\u003cfigure id=\"attachment_13936795\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936795 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-74-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens greets community members after the honorary ceremony on Oct. 21, 2023 in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You can see the type of talent this city has produced over many many decades,” said Mayor McConnell, addressing the crowd of hundreds that gathered for the ceremony. “Continuously when you move throughout the Bay Area and when you live in other cities, you meet people who say ‘I grew up and I lived in Vallejo,’ and they’re very proud of it.”\u003c/p>\n\u003cp>“So we want to acknowledge his success, and more importantly, we want to acknowledge his contributions to the city,” added McConnell.\u003c/p>\n\u003cfigure id=\"attachment_13936788\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936788 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg\" alt=\"Vallejo High School cheerleaders perform at Earl “E-40” Stevens’ honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-8-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Vallejo High School cheerleaders perform at Earl ‘E-40’ Stevens’ honorary ceremony, with E-40 (right) sitting beside Vallejo Mayor Robert McConnell on stage. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland-born hip-hop and hyphy artist Mistah F.A.B., master of ceremonies at the event, said E-40 was somebody he grew up idolizing as an artist and as a person.\u003c/p>\n\u003cp>“Today is about being here for somebody that has opened up doors, somebody that has pioneered and championed what it is like to be not only an artist, but to be an entrepreneur, to be a father, to be a friend, to be a family member, to be a great business man,” said Mistah F.A.B., who is also a community organizer, entrepreneur and activist. “I think that you guys are just as proud as we are and we’re happy. … This is a beautiful moment, man.”\u003c/p>\n\u003cfigure id=\"attachment_13936789\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936789 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s family members sit in the audience during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-25-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s family members sit in the audience during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>E-40 is a name practically synonymous with \u003ca href=\"http://kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>, and he’s enjoyed impressive career longevity rarely seen in rap. He got his start in the late ’80s as a member of The Click, a group that also featured his sister Suga-T, brother D-Shot and cousin B-Legit.\u003c/p>\n\u003cp>Along with peers like Too Short, E-40 set the standard for independent music distribution by selling tapes “out the trunk.” His label Sick Wid It Records later signed a distribution deal with Jive, and The Click’s second album, 1995’s \u003cem>Game Related\u003c/em>, peaked at No. 21.\u003c/p>\n\u003cfigure id=\"attachment_13936794\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936794 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-70-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens unveils the sign of the renamed Magazine St, aka E-40 Way, during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a good opportunity for the kids that are coming up here, to build something positive for the children coming up in Vallejo,” said Vallejo resident Rosalyn Robinson. “I think it’s a monumental event, giving Vallejo that credit that’s well needed. E-40 has been in the game for four decades, and this celebration is way past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1993, E-40 launched his solo career with the album \u003cem>Federal\u003c/em> and continued collaborating with members of The Click on hits like 1995’s “Sprinkle Me” featuring Suga-T as his national profile grew. He’s credited with inventing and popularizing many Bay Area slang terms — such as “broccoli” for cannabis, “fasheezy” and “flamboastin’.”\u003c/p>\n\u003cp>E-40’s hit-making streak continued with the 2006 smash “Tell Me When To Go,” which came to define hyphy — the local, hard-partying rap subculture — for the rest of the country. His 2014 song “Choices” became a Golden State Warriors anthem that amped up the team during its championship games.\u003c/p>\n\u003cfigure id=\"attachment_13936792\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936792 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-53-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens’s son, Earl Stevens Jr. talks about his father’s legacy during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dennis Lastra, who grew up next-door to Stevens in his grandmother’s house, said despite all the success and the accomplishments, E-40 was always humble and always made sure to visit them whenever he was in Vallejo.\u003c/p>\n\u003cp>“I’m just so proud of him, man. Because like, just from day one, I seen her struggle as a single mother, and she raised her kids,” said Lastra of Earl Stevens’ mother, who raised him and his siblings as a single parent. “\u003cb>\u003c/b>I give all props to that man. … You feel that gratitude that he has. It’s just humbling to hear that from someone that has achieved so much. … And the hard way, it wasn’t the easy way.”\u003c/p>\n\u003cfigure id=\"attachment_13936791\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936791 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg\" alt=\"E-40 Way seen on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-34-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">E-40 Way in Vallejo. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, E-40 collaborated with younger Bay Area artists like P-Lo and national rap stars, including Snoop Dogg, T.I. and Ice Cube. While continuing to make music, he’s shifted his energy toward his philanthropy and liquor and food businesses. He has a forthcoming cookbook with Snoop Dogg, \u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/untitled-snoop-cookbook-2\">Goon With the Spoon\u003c/a>\u003c/em>, out Nov. 14 via Chronicle Books.\u003c/p>\n\u003cfigure id=\"attachment_13936790\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13936790 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg\" alt=\"Earl “E-40” Stevens speaks during the honorary ceremony on Oct. 21, 2023 in Vallejo, Calif.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/E-40-33-MV-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl ‘E-40’ Stevens speaks during the honorary ceremony. \u003ccite>(Michaela Vatcheva for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“E-40 is a trailblazer and he’s opened up many doors for young people to walk through,” said Rosalyn Robinson. “He’s very humble, always been humble. He’s always been loyal. And I think it’s important for the kids to see, and it’s important for events like this to keep happening.”\u003c/p>\n\u003cp>\u003cem>KQED’s Attila Pelit contributed to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'E-40 Way' To Be Unveiled in Vallejo as City Honors Famed Rapper",
"headTitle": "‘E-40 Way’ To Be Unveiled in Vallejo as City Honors Famed Rapper | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Update\u003c/strong>: The public unveiling of E-40 Way is scheduled for Saturday, Oct. 21, from 10 a.m. to noon, at the corner of Del Sur and Magazine Streets in Vallejo, just outside E-40’s childhood home. City leaders will read a proclamation and issue a key to the city for the sign unveiling ceremony. \u003c/em>\u003c/p>\n\u003cp>In 2015, Earl Stevens — better known around the soil as rapper E-40 — released “Magazine Street” on his album \u003cem>Poverty and Prosperity\u003c/em>. And as anyone who’s listened to the linguistic fabricator throughout his multi-decade career knows, it’s impossible to list the amount of times Magazine Street has been mentioned in his music.\u003c/p>\n\u003cp>So it’s only right that the city of Vallejo will dedicate nearly a mile of the major thoroughfare to the \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">entrepreneurial\u003c/a> rap mogul by renaming it “E-40 Way.” \u003c/p>\n\u003cp>[aside postID='arts_13927874']The decision was unanimous among Vallejo’s City Council members in July. Though the city will keep its Magazine Street signs, additional signage indicating “E-40 Way” will be added for a one-mile stretch in southern Vallejo, between Laurel St. and Old Glen Cove Road. It will run through Beverly Hills, the neighborhood where E-40 grew up with his mother and three siblings.\u003c/p>\n\u003cp>The decision comes 30 years after Stevens released \u003cem>Federal\u003c/em>, his first studio album, which documented life in “the V” and helped pioneer an entirety new subgenre of rapping about street life in Northern California. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Naming streets after influential rappers has of late become a rite of passage in the Bay Area, with \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">East Oakland recently honoring Todd “Too Short” Shaw with his own strip of pavement\u003c/a> along Foothill Boulevard and 2Pac posthumously receiving a “\u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\">Tupac Shakur Way\u003c/a>” commemoration on Oakland’s MacArthur Boulevard. The addition of “E-40 Way” only further cements the influential role rappers have played in our region’s cultural landscape.\u003c/p>\n\u003cp>[aside postID='arts_13907726']For a genre of music known for street credibility, Stevens has always garnered respected among his peers. He’s also an advocate known for his community work, philanthropy and mentorship of younger artists — factors presented before the vote took place at July city council meeting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article originally published on Aug. 1, 2023. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update\u003c/strong>: The public unveiling of E-40 Way is scheduled for Saturday, Oct. 21, from 10 a.m. to noon, at the corner of Del Sur and Magazine Streets in Vallejo, just outside E-40’s childhood home. City leaders will read a proclamation and issue a key to the city for the sign unveiling ceremony. \u003c/em>\u003c/p>\n\u003cp>In 2015, Earl Stevens — better known around the soil as rapper E-40 — released “Magazine Street” on his album \u003cem>Poverty and Prosperity\u003c/em>. And as anyone who’s listened to the linguistic fabricator throughout his multi-decade career knows, it’s impossible to list the amount of times Magazine Street has been mentioned in his music.\u003c/p>\n\u003cp>So it’s only right that the city of Vallejo will dedicate nearly a mile of the major thoroughfare to the \u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">entrepreneurial\u003c/a> rap mogul by renaming it “E-40 Way.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The decision was unanimous among Vallejo’s City Council members in July. Though the city will keep its Magazine Street signs, additional signage indicating “E-40 Way” will be added for a one-mile stretch in southern Vallejo, between Laurel St. and Old Glen Cove Road. It will run through Beverly Hills, the neighborhood where E-40 grew up with his mother and three siblings.\u003c/p>\n\u003cp>The decision comes 30 years after Stevens released \u003cem>Federal\u003c/em>, his first studio album, which documented life in “the V” and helped pioneer an entirety new subgenre of rapping about street life in Northern California. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Naming streets after influential rappers has of late become a rite of passage in the Bay Area, with \u003ca href=\"https://www.kqed.org/arts/13922616/too-short-way-street-sign-unveiled-oakland\">East Oakland recently honoring Todd “Too Short” Shaw with his own strip of pavement\u003c/a> along Foothill Boulevard and 2Pac posthumously receiving a “\u003ca href=\"https://www.kqed.org/arts/13929233/tupac-shakur-street-oakland-tupac-shakur-way\">Tupac Shakur Way\u003c/a>” commemoration on Oakland’s MacArthur Boulevard. The addition of “E-40 Way” only further cements the influential role rappers have played in our region’s cultural landscape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For a genre of music known for street credibility, Stevens has always garnered respected among his peers. He’s also an advocate known for his community work, philanthropy and mentorship of younger artists — factors presented before the vote took place at July city council meeting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article originally published on Aug. 1, 2023. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]T[/dropcap]he story of Black Benjie and the Ghetto Brothers is “a prequel to hip-hop,” explains Chuck D \u003cspan style=\"font-weight: 400\">—\u003c/span> best known as the frontman of Public Enemy, the rebels without a pause who brought fiery social commentary to hip-hop’s golden era.\u003c/p>\n\u003cp>His latest project, as the narrator and executive producer of PB&J Productions’ podcast \u003ca href=\"https://www.audible.com/pd/Can-You-Dig-It-Podcast/B0CBCW31N8\">\u003cem>Can You Dig It?\u003c/em>\u003c/a>, fills in the details of an essential missing chapter in hip-hop culture’s evolution. Set in the South Bronx in the late ’60s and early ’70s, the audio docu-series traces the story of how a street gang became a cultural organization, reforming the community and paving the way for what followed in the process.\u003c/p>\n\u003cp>“Black Benjie and the whole scene right in the Bronx before the birth of hip-hop, really sparking the birth of hip-hop, seemed as important as any other story about hip-hop 50 that we heard this year,” Chuck says.\u003c/p>\n\u003cp>His voiceover reminds listeners that “while art and music offer temporary distraction from everyday life, the kids in these communities struggled well beyond the norm. Hope, prospects and positive influences were fleeting.”\u003c/p>\n\u003cp>During a recent interview over Zoom he adds, “these weren’t bad kids, it was what it was.” The story’s takeaway isn’t that underprivileged inner-city youth in the South Bronx formed street gangs. It’s that the impetus to transform their lives and communities directly resulted in the creation of the most-influential popular culture movement of the past half-century.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.thecity.nyc/2023/06/03/black-benjie-ghetto-brothers-gangs-hoe-avenue-peace-treaty-south-bronx-longwood/\">Cornell “Black Benjie” Benjamin\u003c/a>’s life has long been an urban legend. It parallels the fictional tale of Cyrus, the enigmatic figure whose death is the catalyst for the events of the 1965 novel and 1979 Hollywood adaptation of \u003cem>The Warriors\u003c/em>. In the fictional accounts, Cyrus summons together New York’s 40,000 gang members for a summit, at which he urges them to stop fighting and killing each other — and take on The Man instead. After uttering the iconic, oft-sampled sound bite, “\u003ca href=\"https://www.youtube.com/watch?v=bTUrWYv2vtU\">caaaaan you dig itttttt\u003c/a>,” however, Cyrus is shot and killed by Luther, leader of the Rogues, who then blames the killing on the Warriors.\u003c/p>\n\u003cp>In real life, Black Benjie was a gang leader and former addict who became a drug counselor and community activist. The Ghetto Brothers flew colors and maintained their territory, just like all the other Bronx gangs of that time — including the Savage Skulls, the Black Spades, the Seven Immortals and the Young Lords. But after being mentored by an art teacher, \u003ca href=\"https://ritafecher.com/news.html\">Rita Fecher\u003c/a>, and community organizer \u003ca href=\"https://www.latinxproject.nyu.edu/intervenxions/1wyt8fmrwrsdsyf3z745mjpjzl549p\">Evelina Antonetty\u003c/a>, the “Puerto Rican Rosa Parks” and founder of United Bronx Parents, the Ghetto Brothers became involved with the Youth Services Agency, a social services organization funded by then-mayor John Lindsay.\u003c/p>\n\u003cp>https://youtu.be/mguK4xMpd2Y?si=aL2OK0NiLj0u_sfZ\u003c/p>\n\u003cp>The Ghetto Brothers gained media visibility after renouncing violence and seeking to better their community. Their efforts centered around the concept of “community control,” a self-determinant creed not unlike that of Oakland’s Black Panthers.\u003c/p>\n\u003cp>A further complication was the Ford Foundation’s funding of community service organizations in the Bronx as part of an initiative to quell racial violence between minority populations. Ford’s agenda seemingly aligned with the YSA/Ghetto Brothers alliance, yet ran counter to New York’s entrenched political establishment, whose underdevelopment and outright neglect of the South Bronx created the hellish conditions that allowed the street gangs to proliferate.\u003c/p>\n\u003cfigure id=\"attachment_13936707\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1217374638-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-1536x1065.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-2048x1420.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-1920x1331.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">View, across a trash-strewn vacant lot, of a colorful mural on a wall, Bronx, New York, 1975.\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]I[/dropcap]n 1971, Black Benjie was murdered while attempting to de-escalate a confrontation between the Ghetto Brothers and a rival gang. Following his death, a local television station produced a short film examining the Ghetto Brothers’ attempts at community rejuvenation and the social and environmental conditions they sought to transcend; throughout the film, Sly Stone’s “Just Like A Baby” serves as an elegiac soundtrack to the visual narrative.\u003c/p>\n\u003cp>Black Benjie’s death catalyzed the Ghetto Brothers to press forward with the proposed gang truce he had been brokering, as well as to further evolve down an alternate path, undertaking cultural activities that became crucial to hip-hop’s original foundation. Other former gang leaders, such as Afrika Bambaaataa, followed in the Ghetto Brothers’ wake. In 1975, Bambaataa formed a cultural organization (the Universal Zulu Nation), renouncing violence in favor of what would become known as hip-hop and a credo of “peace, love, unity and having fun.”\u003c/p>\n\u003cp>Bits and fragments of this story have been told before, most notably through the documentaries \u003ca href=\"https://www.youtube.com/watch?v=CKbqGNtkIsM\">\u003cem>Flyin’ Cut Sleeves\u003c/em>\u003c/a> and \u003cem>Rubble Kings\u003c/em>, which focused on pre-hip-hop street gang culture. Steven Hager’s reporting for \u003cem>The Village Voice\u003c/em> and his 1984 book \u003cem>Hip Hop\u003c/em> reference the fact hip-hop evolved from street gangs; Jeff Chang’s book \u003cem>Can’t Stop Won’t Stop\u003c/em> traced the social and political conditions that created the reality of the South Bronx in the late ’60s and early ’70s \u003cspan style=\"font-weight: 400\">—\u003c/span> including such urban renewal initiatives as the Cross Bronx Expressway, which isolated the neighborhood from the rest of New York (much like how the 980 freeway bifurcated West Oakland from downtown).\u003c/p>\n\u003cp>https://youtu.be/CKbqGNtkIsM?si=QDML0ClaykmIMxcM\u003c/p>\n\u003cp>\u003cem>Can You Dig It? \u003c/em>represents the deepest dive to date into the Ghetto Brothers and Black Benjie story. The docu-series demythologizes the story, Chuck maintains \u003cspan style=\"font-weight: 400\">—\u003c/span> allowing the listener to parse fact from folklore.\u003c/p>\n\u003cp>Its value, he says, lies in the pertinent details and the questions they raise: “It’s the story of a disenfranchised borough, a city that left it for dead. This had all the other things that went along with it. Was it serviced properly? Why were the buildings burning two or three years later? What happened to the Bronx when people came back from Vietnam?… I mean, you get into a historical backdrop. That makes the creation of hip-hop make all that much more sense.”\u003c/p>\n\u003cp>The setting of \u003cem>Can You Dig It?\u003c/em> appealed to Chuck because of his own lived experience. “I’m different from a lot of those rap cats out there. I come from that time,” he says.\u003c/p>\n\u003cp>Growing up in Long Island, he was initially disconnected from what was happening in the South Bronx. But as he witnessed hip-hop’s evolution unfold “in real time,” he gained an understanding of why it was important. He remembers terminology changing from “Negro” to “colored” to “Black,” experiencing the rawness of James Brown and the revolutionary “mixing pot” of Sly Stone, as well as being “fed by the Black Panthers’ breakfast programs,” and “being privy to” Oakland and Chicago Panther chapters “getting wiped out” by the time he was 13 years old.\u003c/p>\n\u003cp>As a Black American, he says, “It’s almost like we live our life de-mythizing things. You know what I’m saying? I don’t believe the hype on a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13936712\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1575083888.jpg\" alt=\"A street sign in the Bronx, New York reads 'Cornell 'Black Benjie' Benjamin Way.'\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A stretch of street in New York’s Bronx after being renamed “Cornell ‘Black Benjie’ Benjamin Way.” \u003ccite>(Christina Horsten/picture alliance via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In digging deeper into the environmental landscape and cultural fabric of the South Bronx and focusing on the community reform efforts of the Ghetto Brothers, the docu-series goes beyond one such common myth, that of the so-called Holy Trinity of Bambaata, Kool Herc, and Grandmaster Flash — first presented by Hager, \u003cem>The Village Voice\u003c/em> reporter. By leaning into the Ghetto Brothers’ ambitious efforts to move away from violence toward a cultural, community-centric path, \u003cem>Can You Dig It?\u003c/em> does as good a job of explaining hip-hop’s \u003cem>raison d’être\u003c/em> as any contemporary source.\u003c/p>\n\u003cp>“Matter of fact,” Chuck elaborates, “it plugs into why hip-hop 51 is important. So the past, present and future all lined up great.”\u003c/p>\n\u003cp>Told with an array of immersive storytelling techniques, \u003cem>Can You Dig It?\u003c/em> places archival sound bites, interviews and dialogued scenes based on real-life accounts alongside Chuck’s narrative voiceovers. The effect is a mix of historical exhibit, social documentary and theatrical drama that not only recreates the world in which Black Benjie and the Ghetto Brothers lived, but presents key context and encourages critical thinking beyond mere entertainment. [aside label='More Hip-Hop 50 Coverage' postid='arts_13934715,arts_13933590,arts_13931795']\u003c/p>\n\u003cp>“Growing up in the Bronx was very musical, very colorful,” photographer Joe Conzo says in the docu-series. In the pre-boombox era, local parks were awash with congueros hanging out and playing live music, as well as others with AM transistor radios. Conzo’s first photographic subjects included neighborhood figures Bambaataa and the Cold Crush Brothers, as well as Tito Puente and Eddie Palmieri. These cultural inspirations are contrasted by continuous arson fires, high unemployment and the reassignment of city blocks into gang territory that limited residents’ ability to move from place to place.\u003c/p>\n\u003cp>The influence of the Black Panthers — identified as a key inspiration of the Ghetto Brothers — on the Bronx shows up fairly early, at around the 19-minute mark of the first episode, when former Panther Joseph Mpa speaks. “I grew up in a time when the Bronx was burning and people were dying,” he says. After hearing about the Panthers and their police patrols on radio station WBAI, he adds, “I felt this sense of, things can change.” But in order to make that change a reality, “I have to do something.”\u003c/p>\n\u003cp>History tends to be cyclical. The story of the development of blues parallels that of hip-hop, Chuck says, in that the creativity sprang up as a resilient reaction to adverse, even bleak, conditions. “When they tell you, oh yeah, people in the Delta made blues out of nothing, it really wasn’t nothing. But, you know, we get it,” he explains. “If you thought that nothing was there, you’re left with nothing. And we made something out of nothing. It was the same thing with the Bronx. … But the circumstances that led up to it really had to be examined. And that’s what \u003cem>Can You Dig It?\u003c/em> does.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.audible.com/pd/Can-You-Dig-It-Podcast/B0CBCW31N8\">Can You Dig It?\u003c/a>’ is available on Audible and Amazon Music.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he story of Black Benjie and the Ghetto Brothers is “a prequel to hip-hop,” explains Chuck D \u003cspan style=\"font-weight: 400\">—\u003c/span> best known as the frontman of Public Enemy, the rebels without a pause who brought fiery social commentary to hip-hop’s golden era.\u003c/p>\n\u003cp>His latest project, as the narrator and executive producer of PB&J Productions’ podcast \u003ca href=\"https://www.audible.com/pd/Can-You-Dig-It-Podcast/B0CBCW31N8\">\u003cem>Can You Dig It?\u003c/em>\u003c/a>, fills in the details of an essential missing chapter in hip-hop culture’s evolution. Set in the South Bronx in the late ’60s and early ’70s, the audio docu-series traces the story of how a street gang became a cultural organization, reforming the community and paving the way for what followed in the process.\u003c/p>\n\u003cp>“Black Benjie and the whole scene right in the Bronx before the birth of hip-hop, really sparking the birth of hip-hop, seemed as important as any other story about hip-hop 50 that we heard this year,” Chuck says.\u003c/p>\n\u003cp>His voiceover reminds listeners that “while art and music offer temporary distraction from everyday life, the kids in these communities struggled well beyond the norm. Hope, prospects and positive influences were fleeting.”\u003c/p>\n\u003cp>During a recent interview over Zoom he adds, “these weren’t bad kids, it was what it was.” The story’s takeaway isn’t that underprivileged inner-city youth in the South Bronx formed street gangs. It’s that the impetus to transform their lives and communities directly resulted in the creation of the most-influential popular culture movement of the past half-century.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.thecity.nyc/2023/06/03/black-benjie-ghetto-brothers-gangs-hoe-avenue-peace-treaty-south-bronx-longwood/\">Cornell “Black Benjie” Benjamin\u003c/a>’s life has long been an urban legend. It parallels the fictional tale of Cyrus, the enigmatic figure whose death is the catalyst for the events of the 1965 novel and 1979 Hollywood adaptation of \u003cem>The Warriors\u003c/em>. In the fictional accounts, Cyrus summons together New York’s 40,000 gang members for a summit, at which he urges them to stop fighting and killing each other — and take on The Man instead. After uttering the iconic, oft-sampled sound bite, “\u003ca href=\"https://www.youtube.com/watch?v=bTUrWYv2vtU\">caaaaan you dig itttttt\u003c/a>,” however, Cyrus is shot and killed by Luther, leader of the Rogues, who then blames the killing on the Warriors.\u003c/p>\n\u003cp>In real life, Black Benjie was a gang leader and former addict who became a drug counselor and community activist. The Ghetto Brothers flew colors and maintained their territory, just like all the other Bronx gangs of that time — including the Savage Skulls, the Black Spades, the Seven Immortals and the Young Lords. But after being mentored by an art teacher, \u003ca href=\"https://ritafecher.com/news.html\">Rita Fecher\u003c/a>, and community organizer \u003ca href=\"https://www.latinxproject.nyu.edu/intervenxions/1wyt8fmrwrsdsyf3z745mjpjzl549p\">Evelina Antonetty\u003c/a>, the “Puerto Rican Rosa Parks” and founder of United Bronx Parents, the Ghetto Brothers became involved with the Youth Services Agency, a social services organization funded by then-mayor John Lindsay.\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/mguK4xMpd2Y'\n title='//www.youtube.com/embed/mguK4xMpd2Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Ghetto Brothers gained media visibility after renouncing violence and seeking to better their community. Their efforts centered around the concept of “community control,” a self-determinant creed not unlike that of Oakland’s Black Panthers.\u003c/p>\n\u003cp>A further complication was the Ford Foundation’s funding of community service organizations in the Bronx as part of an initiative to quell racial violence between minority populations. Ford’s agenda seemingly aligned with the YSA/Ghetto Brothers alliance, yet ran counter to New York’s entrenched political establishment, whose underdevelopment and outright neglect of the South Bronx created the hellish conditions that allowed the street gangs to proliferate.\u003c/p>\n\u003cfigure id=\"attachment_13936707\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1217374638-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-800x555.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-768x533.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-1536x1065.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-2048x1420.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1217374638-1920x1331.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">View, across a trash-strewn vacant lot, of a colorful mural on a wall, Bronx, New York, 1975.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1971, Black Benjie was murdered while attempting to de-escalate a confrontation between the Ghetto Brothers and a rival gang. Following his death, a local television station produced a short film examining the Ghetto Brothers’ attempts at community rejuvenation and the social and environmental conditions they sought to transcend; throughout the film, Sly Stone’s “Just Like A Baby” serves as an elegiac soundtrack to the visual narrative.\u003c/p>\n\u003cp>Black Benjie’s death catalyzed the Ghetto Brothers to press forward with the proposed gang truce he had been brokering, as well as to further evolve down an alternate path, undertaking cultural activities that became crucial to hip-hop’s original foundation. Other former gang leaders, such as Afrika Bambaaataa, followed in the Ghetto Brothers’ wake. In 1975, Bambaataa formed a cultural organization (the Universal Zulu Nation), renouncing violence in favor of what would become known as hip-hop and a credo of “peace, love, unity and having fun.”\u003c/p>\n\u003cp>Bits and fragments of this story have been told before, most notably through the documentaries \u003ca href=\"https://www.youtube.com/watch?v=CKbqGNtkIsM\">\u003cem>Flyin’ Cut Sleeves\u003c/em>\u003c/a> and \u003cem>Rubble Kings\u003c/em>, which focused on pre-hip-hop street gang culture. Steven Hager’s reporting for \u003cem>The Village Voice\u003c/em> and his 1984 book \u003cem>Hip Hop\u003c/em> reference the fact hip-hop evolved from street gangs; Jeff Chang’s book \u003cem>Can’t Stop Won’t Stop\u003c/em> traced the social and political conditions that created the reality of the South Bronx in the late ’60s and early ’70s \u003cspan style=\"font-weight: 400\">—\u003c/span> including such urban renewal initiatives as the Cross Bronx Expressway, which isolated the neighborhood from the rest of New York (much like how the 980 freeway bifurcated West Oakland from downtown).\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/CKbqGNtkIsM'\n title='//www.youtube.com/embed/CKbqGNtkIsM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Can You Dig It? \u003c/em>represents the deepest dive to date into the Ghetto Brothers and Black Benjie story. The docu-series demythologizes the story, Chuck maintains \u003cspan style=\"font-weight: 400\">—\u003c/span> allowing the listener to parse fact from folklore.\u003c/p>\n\u003cp>Its value, he says, lies in the pertinent details and the questions they raise: “It’s the story of a disenfranchised borough, a city that left it for dead. This had all the other things that went along with it. Was it serviced properly? Why were the buildings burning two or three years later? What happened to the Bronx when people came back from Vietnam?… I mean, you get into a historical backdrop. That makes the creation of hip-hop make all that much more sense.”\u003c/p>\n\u003cp>The setting of \u003cem>Can You Dig It?\u003c/em> appealed to Chuck because of his own lived experience. “I’m different from a lot of those rap cats out there. I come from that time,” he says.\u003c/p>\n\u003cp>Growing up in Long Island, he was initially disconnected from what was happening in the South Bronx. But as he witnessed hip-hop’s evolution unfold “in real time,” he gained an understanding of why it was important. He remembers terminology changing from “Negro” to “colored” to “Black,” experiencing the rawness of James Brown and the revolutionary “mixing pot” of Sly Stone, as well as being “fed by the Black Panthers’ breakfast programs,” and “being privy to” Oakland and Chicago Panther chapters “getting wiped out” by the time he was 13 years old.\u003c/p>\n\u003cp>As a Black American, he says, “It’s almost like we live our life de-mythizing things. You know what I’m saying? I don’t believe the hype on a lot of things.”\u003c/p>\n\u003cfigure id=\"attachment_13936712\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936712\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1575083888.jpg\" alt=\"A street sign in the Bronx, New York reads 'Cornell 'Black Benjie' Benjamin Way.'\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1575083888-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">A stretch of street in New York’s Bronx after being renamed “Cornell ‘Black Benjie’ Benjamin Way.” \u003ccite>(Christina Horsten/picture alliance via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In digging deeper into the environmental landscape and cultural fabric of the South Bronx and focusing on the community reform efforts of the Ghetto Brothers, the docu-series goes beyond one such common myth, that of the so-called Holy Trinity of Bambaata, Kool Herc, and Grandmaster Flash — first presented by Hager, \u003cem>The Village Voice\u003c/em> reporter. By leaning into the Ghetto Brothers’ ambitious efforts to move away from violence toward a cultural, community-centric path, \u003cem>Can You Dig It?\u003c/em> does as good a job of explaining hip-hop’s \u003cem>raison d’être\u003c/em> as any contemporary source.\u003c/p>\n\u003cp>“Matter of fact,” Chuck elaborates, “it plugs into why hip-hop 51 is important. So the past, present and future all lined up great.”\u003c/p>\n\u003cp>Told with an array of immersive storytelling techniques, \u003cem>Can You Dig It?\u003c/em> places archival sound bites, interviews and dialogued scenes based on real-life accounts alongside Chuck’s narrative voiceovers. The effect is a mix of historical exhibit, social documentary and theatrical drama that not only recreates the world in which Black Benjie and the Ghetto Brothers lived, but presents key context and encourages critical thinking beyond mere entertainment. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Growing up in the Bronx was very musical, very colorful,” photographer Joe Conzo says in the docu-series. In the pre-boombox era, local parks were awash with congueros hanging out and playing live music, as well as others with AM transistor radios. Conzo’s first photographic subjects included neighborhood figures Bambaataa and the Cold Crush Brothers, as well as Tito Puente and Eddie Palmieri. These cultural inspirations are contrasted by continuous arson fires, high unemployment and the reassignment of city blocks into gang territory that limited residents’ ability to move from place to place.\u003c/p>\n\u003cp>The influence of the Black Panthers — identified as a key inspiration of the Ghetto Brothers — on the Bronx shows up fairly early, at around the 19-minute mark of the first episode, when former Panther Joseph Mpa speaks. “I grew up in a time when the Bronx was burning and people were dying,” he says. After hearing about the Panthers and their police patrols on radio station WBAI, he adds, “I felt this sense of, things can change.” But in order to make that change a reality, “I have to do something.”\u003c/p>\n\u003cp>History tends to be cyclical. The story of the development of blues parallels that of hip-hop, Chuck says, in that the creativity sprang up as a resilient reaction to adverse, even bleak, conditions. “When they tell you, oh yeah, people in the Delta made blues out of nothing, it really wasn’t nothing. But, you know, we get it,” he explains. “If you thought that nothing was there, you’re left with nothing. And we made something out of nothing. It was the same thing with the Bronx. … But the circumstances that led up to it really had to be examined. And that’s what \u003cem>Can You Dig It?\u003c/em> does.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.audible.com/pd/Can-You-Dig-It-Podcast/B0CBCW31N8\">Can You Dig It?\u003c/a>’ is available on Audible and Amazon Music.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On Thursday night, \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">Mac Mall\u003c/a> and RBL Posse’s \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">Black C\u003c/a> came to KQED’s stage to discuss their published autobiographies live and in person. Representing a golden era for Bay Area rap, the two shared stories from their books about growing up in Vallejo and Hunters Point; surviving gang wars and shootings; scraping together resources to record classic debut albums; and prospering against all odds to stand as legends.\u003c/p>\n\u003cp>Watch above to see the discussion (starts at 21:00), co-presented by \u003ca href=\"https://www.litquake.org/\">Litquake\u003c/a>, with bonus performances of RBL Posse’s “A Part of Survival” and “Don’t Give Me No Bammer Weed,” and Mac Mall’s “Get Right,” “Sic Wit Tis” and “Wide Open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On Thursday night, \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">Mac Mall\u003c/a> and RBL Posse’s \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">Black C\u003c/a> came to KQED’s stage to discuss their published autobiographies live and in person. Representing a golden era for Bay Area rap, the two shared stories from their books about growing up in Vallejo and Hunters Point; surviving gang wars and shootings; scraping together resources to record classic debut albums; and prospering against all odds to stand as legends.\u003c/p>\n\u003cp>Watch above to see the discussion (starts at 21:00), co-presented by \u003ca href=\"https://www.litquake.org/\">Litquake\u003c/a>, with bonus performances of RBL Posse’s “A Part of Survival” and “Don’t Give Me No Bammer Weed,” and Mac Mall’s “Get Right,” “Sic Wit Tis” and “Wide Open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal",
"headTitle": "Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal | KQED",
"content": "\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>[aside postid='pop_111253']Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_33345']“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>[aside postid='arts_13903795']She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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