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"title": "Once Booming, Where Are the Blues in San Francisco Now?",
"headTitle": "Once Booming, Where Are the Blues in San Francisco Now? | KQED",
"content": "\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0n6fctAUjX4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13876143,arts_13809453,arts_13897443\"]Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nUUyFrHERpU\u003c/p>\n\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W2EG6svjz0w\u003c/p>\n\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "A new reissue of John Lee Hooker's 1989 album 'The Healer' recalls the city's active blues scene.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No take on San Francisco is more clichéd than proclaiming that the year of one’s arrival was a golden age from which the city has steadily descended, shedding its luster with each passing season. And when it comes to the city’s blues scene, one can make a righteous case for any decade in the latter half of the 20th century as a high-water mark.\u003c/p>\n\u003cp>But by God, the mid-1990s, when I just happened to move to the Bay Area, was an extraordinary moment for the blues in San Francisco, an era reigned over by one of the fiercest artists ever to walk the earth, John Lee Hooker.\u003c/p>\n\u003cp>A potent artifact from that long-gone moment arrives Friday with the Craft Recordings reissue of Hooker’s epochal 1989 hit album \u003cem>The Healer\u003c/em>, which reignited his career amidst a gaudy cast of guest artists eager to bask in his sharkskin-suited glory, including Carlos Santana, George Thorogood, Los Lobos, Canned Heat, Charlie Musselwhite and Robert Cray.\u003c/p>\n\u003cp>Out of print for the past decade, the album not only earned the 73-year-old guitarist, vocalist and songwriter his first Grammy Award (for the Bonnie Raitt duet “I’m in the Mood”), it put Hooker at the center of the scene when the blues still occupied a significant swath of the cultural terrain.\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/0n6fctAUjX4'\n title='//www.youtube.com/embed/0n6fctAUjX4'\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>Hooker went on to make several more popular albums also produced by slide guitarist Roy Rogers, while various labels excavated his vast discography, which got off to a brilliant start with his chart-topping 1948 single “Boogie Chillen.” His iconic status continued to grow over the next decade with his 1991 induction into the Rock and Roll Hall of Fame and his Grammy Lifetime Achievement Award in 2000.\u003c/p>\n\u003ch2>National icon, local legend\u003c/h2>\n\u003cp>Locally, Hooker’s star hung over the Fillmore, where Alexander Andreas rechristened a nightspot long known as Jack’s Tavern as the Boom Boom Room, in honor of Hooker’s signature 1962 hit, “Boom Boom.” Contrary to the widespread belief that Hooker owned a piece of the club, Andreas made him an honorary partner, and many a night he could be found behind a red velvet rope in his reserved booth, surrounded by a bevy of ladies and a coterie of musicians. Occasionally a brave fan might approach to pay homage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robert Cray, who toured widely with Hooker as an opening act and appeared on \u003cem>The Healer\u003c/em>’s funky third track “Baby Lee,” recalled the scene on the Boom Boom Room’s opening night, when the club was packed with dozens of other musicians, television crews and Mayor Willie Brown.\u003c/p>\n\u003cp>“The impact of \u003cem>The Healer\u003c/em> was huge, and then when the Boom Boom Room opened it meant people knew where to find him,” Cray said. “John always seemed to me to have this great attitude about everything. He always had people around who adored him. It was a really exciting time. Carlos and Bonnie Raitt would pop in. We played the San Francisco Blues Festival, the Sacramento Blues Festival and all the clubs in San Francisco and the South Bay. It was pretty live.”\u003c/p>\n\u003cp>As late as the 1990s, the blues scene was still inextricably linked to the frisson around the Fillmore Auditorium in the 1960s — when a rising generation of white Chicago transplants (including Paul Butterfield, Barry Goldberg, Elvin Bishop and Mike Bloomfield) all prevailed upon Bill Graham to present the Black masters who’d mentored them on the Southside (particularly Howlin’ Wolf, Muddy Waters and B.B. King). It’s a story well-told in filmmaker Bob Sarles’ 2021 documentary \u003ca href=\"https://www.youtube.com/watch?v=A8X1n58B9Dw\">\u003cem>Born in Chicago\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 1960s also saw Hooker connecting with the blues-besotted cohort of young British musicians on the swinging London scene, and it’s no coincidence that the Yardbirds, the Spencer Davis Group and the Animals all recorded his songs. He moved to Oakland late in the decade and worked steadily, with a particularly fruitful collaboration with Canned Heat. When \u003cem>The Healer\u003c/em> put him back on top, he took it all in stride.\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/nUUyFrHERpU'\n title='//www.youtube.com/embed/nUUyFrHERpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bassist Ruth Davies, who recorded with Hooker on several albums following \u003cem>The Healer\u003c/em>, remembers one celebratory night at the Boom Boom Room after he’d won two Grammys for his 1997 album \u003cem>Don’t Look Back\u003c/em>, which was co-produced by Van Morrison. He spotted her in the club and motioned for her to join him.\u003c/p>\n\u003cp>“I felt so privileged,” said Davies (who performs \u003ca href=\"https://secure.thefreight.org/11704/pamela-rose-presents-blues-is-a-woman\">Nov. 19 at Freight & Salvage\u003c/a> backing Pamela Rose’s \u003cem>Blues Is a Woman\u003c/em>). Before Davies started working with Hooker, she gained prominence during her long tenure with West Coast blues legend Charles Brown, and went on to tour and record with guitarist Elvin Bishop’s band.\u003c/p>\n\u003cp>“A lot of the blues legends were living here around that time,” Davies said. “Etta James, Charlie Musselwhite and Elvin Bishop were here. Bonnie Raitt was in Marin, and she did so much to help revive Charles Brown’s career.\u003c/p>\n\u003cfigure id=\"attachment_13920970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg\" alt=\"an older Black man in a hat and sungalsses next to a white woman with bangs in a dark suit in a club\" width=\"800\" height=\"739\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-800x739.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1020x942.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-768x709.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1536x1418.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-2048x1891.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/With-John-Lee-Hooker-1920x1773.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">John Lee Hooker and Ruth Davies in Hooker’s booth at the Boom Boom Room. \u003ccite>(Courtesy of Ruth Davies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“But it wasn’t just the scene here. Traveling was easier. When I started touring with Charles, we did a lot of concerts and festivals, and it seemed like there were three tiers. There were the stars who got paid the most. The middle tier — Charles was in that group. And the local artists. That middle tier is gone,” she said, along with the post-World War II generation of innovators. (Now 86, guitar legend Buddy Guy recently announced a farewell tour in 2023.)\u003c/p>\n\u003ch2>A shifting center of gravity\u003c/h2>\n\u003cp>The infrastructure that sustained the scene has also all but disappeared, with nothing arising to fill the void left by the end of the San Francisco Blues Festival, a major annual event that ran from 1973-2008. The city’s dwindling Black population is another challenge, but the story is similar all over the region. Oakland long boasted a more vital and influential blues scene than San Francisco, anchoring an East Bay soul archipelago that stretched from Richmond and Berkeley out to Camp Stoneman in Pittsburg, and almost all of the clubs and joints that once hosted the blues are gone.\u003c/p>\n\u003cp>Still, the music’s inextricable roots in Black culture continue to manifest in various guises. \u003ca href=\"https://www.fayecarol.com/\">The Dynamic Miss Faye Carol\u003c/a> provides an essential link to the glory days of the East Bay scenes wherever she performs (like her\u003ca href=\"https://secure.thefreight.org/11867/black-womens-roots-festival\"> Black Women’s Roots Festival\u003c/a>, Nov. 27 at Freight & Salvage). Oakland blues vocalist Terrie Odabi has carved out an international career over the past decade, and some of the Bay Area’s best jazz vocalists, like Kim Nalley and Tiffany Austin, make a point of including blues as an essential thread in jazz’s elastic fabric. \u003ca href=\"http://littlevillagefoundation.com/\">The Little Village Foundation\u003c/a> label, created by veteran blues keyboardist and John Lee Hooker sideman Jim Pugh, has boosted the careers of several Bay Area blues artists, like Mumbai-born harmonica player Aki Kumar.\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/W2EG6svjz0w'\n title='//www.youtube.com/embed/W2EG6svjz0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, the music’s center of gravity continues to shift away from San Francisco. Yoshi’s keeps blues in the musical mix, with shows like the Nov. 21 \u003ca href=\"https://yoshis.com/events/buy-tickets/bay-area-harmonica-convergence-1/detail\">Bay Area Harmonica Convergence\u003c/a>. Norwegian-born San Jose guitarist and recording engineer Kid Andersen has turned his \u003ca href=\"https://www.facebook.com/Greaseland/\">Greaseland Studios\u003c/a> into the top spot for Bay Area blues acts to document their music (while working hand-in-hand with Little Village). San Jose’s \u003ca href=\"https://poorhousebistro.com/\">Poor House Bistro\u003c/a> just relocated — literally the entire building — to Little Italy, to make way for Google’s massive new downtown development. Blues great Angela Strehli’s \u003ca href=\"https://www.ranchonicasio.com/\">Rancho Nicasio\u003c/a> is an important outpost in the North Bay, while the biggest blues bills tend to take place at Vallejo’s Empress Theatre.\u003c/p>\n\u003cp>“It’s the same thing in Seattle,” Cray said. “There used to be a bunch of clubs in town. Now we always hit the outskirts, where there might be the theaters and some of the clubs. We’re not downtown in places where it used it happen.”\u003c/p>\n\u003cp>In San Francisco, Myron Mu has kept \u003ca href=\"http://sfblues.weebly.com/saloon-schedule.html\">The Saloon in North Beach\u003c/a>, the city’s oldest venue, in business presenting blues seven nights a week. The city’s premiere club, \u003ca href=\"https://biscuitsandblues.com/\">Biscuits & Blues\u003c/a>, still hasn’t reopened since it was forced to shutter in 2019 by a persistent plumbing problem and an ensuing legal struggle with the neighboring Jack In the Box — but that might finally be coming to an end, said owner Steven Suen said. More than optimistic, he sounded downright philosophic about a musical tradition born out of a need to find solace and communal release in hard times.\u003c/p>\n\u003cp>“The blues as a form of music will never die,” said Suen, who was born in Hong Kong and ended up buying the club after he started managing the venue in 2006. “People keep going back to the roots, figuring out how that music comes about. It will always have a place. It’s not a popular thing, but once people experience it they’ll find something special.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Ye’s Empire Is Finally Crumbling. Why Did It Take so Long?",
"headTitle": "Ye’s Empire Is Finally Crumbling. Why Did It Take so Long? | KQED",
"content": "\u003cp>As companies all over the world cut ties with Ye (formerly Kanye West) this month, statements against the rapper’s litany of antisemitic assertions have been decisive.\u003c/p>\n\u003cp>“Ye’s recent comments and actions have been unacceptable, hateful and dangerous,” said Adidas.\u003c/p>\n\u003cp>“We cannot support any content that amplifies his platform,” \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/kanye-ye-west-documentary-mrc-shelved-1235247299/\">MRC announced\u003c/a>, as the film and TV company shelved its already-completed Ye documentary.\u003c/p>\n\u003cp>[aside postid='arts_13920819'] Fashion house Balenciaga, talent agency CAA and \u003ca href=\"https://pagesix.com/2022/10/21/vogue-has-no-intention-of-working-with-kanye-west-again/\">\u003cem>Vogue\u003c/em>’s Anna Wintour\u003c/a> all cut ties with Ye without much fanfare, but organizations not even working with the rapper took their own stands. “We can’t support hate speech, bigotry or anti-Semitism,” talent agency \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/caa-cuts-ties-with-kanye-west-as-hollywood-boycott-calls-grow-1235247333/\">UTA emailed to its staff\u003c/a>. “Please support the boycott of Kanye West.”\u003c/p>\n\u003cp>Not for nothing. Ye’s recent antisemitic statements have been both shocking and relentless. There was his Oct. 4 declaration that he was going “death con 3 On JEWISH PEOPLE.” There was a \u003ca href=\"https://www.xxlmag.com/kanye-west-war-diddy-texts/\">text exchange Ye himself leaked\u003c/a>, in which he told Sean Combs: “Ima use you as an example to show the Jewish people that told you to call me that no one can threaten or influence me.” And there was the Fox News appearance where Ye stated (among many other terrible, terrible things): “I’d prefer my kids knew Hanukkah than Kwanzaa — at least it would come with some financial engineering.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This latest bout of hate speech is the culmination of years during which Ye has made incendiary and harmful comments — none of which prompted the kind of professional consequences he’s now facing.\u003c/p>\n\u003cp>Adidas, Balenciaga and CAA all stuck by Ye in 2018 after he suggested that \u003ca href=\"https://www.tmz.com/watch/0-lrudlmxu/\">slavery was “a choice”\u003c/a> on TMZ. The companies didn’t react later that year when Ye ended an episode of \u003cem>Saturday Night Live\u003c/em> with \u003ca href=\"https://www.vox.com/policy-and-politics/2018/9/30/17920676/kanye-west-snl-performance-donald-trump\">a rant\u003c/a> that included him saying, “Blacks weren’t always Democrats. It’s like a plan they did to take the fathers out the homes and promote welfare. Does anybody know about that? That’s the Democratic plan.”\u003c/p>\n\u003cp>Ye’s business arrangements were not impacted in 2016 after he specified that he would be hiring “multiracial women only” for Yeezy Season 4 — a choice that inspired accusations of colorism. Nor were they impacted in 2020 when, speaking at a rally, \u003ca href=\"https://www.insider.com/kanye-west-political-rally-abortion-kim-kardashian-north-2020-7\">Ye said that Harriett Tubman “never actually freed the slaves”\u003c/a> but instead sent them to “go work for other white people.”\u003c/p>\n\u003cp>After Ye appeared at Paris Fashion Week wearing a “White Lives Matter” shirt earlier this month, Adidas did put his contracts under review. But it took \u003ca href=\"https://www.kqed.org/arts/13920788/ye-adidas-boycott-kanye-west-antisemitism\">a mountain of online pressure\u003c/a> and \u003ca href=\"https://www.adl.org/resources/letter/adl-letter-adidas-executives-regarding-kanye-west\">an open letter from the Anti-Defamation League\u003c/a> to spur Adidas into more decisive action. (“At this point, what more do you need to review?” ADL CEO Jan Runau asked.)\u003c/p>\n\u003cp>[aside postid='arts_13908594'] Even with the rash of companies cutting ties with Ye now, the impetus appears to be rooted almost entirely in opposition to his antisemitism. The fact that earlier this month Ye also suggested that George Floyd was killed by fentanyl — and not the police officer \u003ca href=\"https://en.wikipedia.org/wiki/Trial_of_Derek_Chauvin\">convicted of his murder, Derek Chauvin\u003c/a> — has been far less of a focus. (“If you look,” Ye told the \u003cem>Drink Champs\u003c/em> podcast, “the guy’s knee wasn’t even on his neck like that.”) \u003ca href=\"https://www.kqed.org/arts/13920562/the-family-of-george-floyd-plans-to-file-a-250-million-lawsuit-against-ye\">Floyd’s family plans to sue\u003c/a> and \u003cem>Drink Champs\u003c/em> has since denounced Ye’s comments.\u003c/p>\n\u003cp>It has not been lost on the Black community that Ye’s many statements denigrating Black people have never prompted the kind of corporate pushback that his antisemitic comments have. Discussions around it dominated Twitter on Tuesday. “Wish being anti-Black held this much weight,” \u003ca href=\"https://twitter.com/scottiebeam/status/1584892766290841600\">Scottie Beam noted\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/scottiebeam/status/1584892766290841600\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/1584726943508799489\u003c/p>\n\u003cp>https://twitter.com/oranicuhh/status/1584616304153366528\u003c/p>\n\u003cp>It’s also worth wondering why Ye’s longstanding history of misogynistic behavior was never a deal-breaker for his business associates. Ye’s casual sexism started over a decade ago with his repeated attempts to \u003ca href=\"https://www.kqed.org/pop/28206/how-amber-rose-became-an-unlikely-feminist-icon\">publicly humiliate Amber Rose\u003c/a>. He has been open about the joy he gleans from \u003ca href=\"https://www.kqed.org/arts/13908594/julia-fox-kanye-west-ye-fashion-kim-kardashian-paris\">exercising control over his romantic partners’ wardrobes\u003c/a>. (And, thanks to Kardashian-based reality television, we’ve seen the scathing insults he sends when these women don’t comply.)\u003c/p>\n\u003cp>Ye has made not one but two videos in which he fetishizes lifeless female bodies. 2010’s “\u003ca href=\"https://www.youtube.com/watch?v=7oinTbQxETo\">Monster\u003c/a>” was first, with its dead models hanging from the ceiling and dead models lying next to him in bed. (It never got an official release.) Then came 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=p7FCgw_GlWc\">Famous\u003c/a>,” a video that depicted real, non-consenting humans (including Taylor Swift and Amber Rose) as naked and unconscious in bed with Ye and Kim Kardashian. Kardashian was in a face-down position, shielding her modesty. Swift and Rose were not given the same consideration.\u003c/p>\n\u003cp>Earlier this year, Ye decided to proudly (and loudly) \u003ca href=\"https://www.rollingstone.com/music/music-news/kanye-west-marilyn-manson-donda-1292671/\">collaborate with Marilyn Manson\u003c/a>, right after the rocker was accused of a litany of sexual and physical abuses by \u003ca href=\"https://www.kqed.org/arts/13910124/phoenix-rising-evan-rachel-wood-marilyn-manson-abuse-hbo-documentary\">Evan Rachel Wood and a dozen other women\u003c/a>. Ye’s decision to do this was a middle finger to abuse survivors everywhere, and he openly enjoyed it.\u003c/p>\n\u003cp>[aside postid='pop_49104'] Then there’s Ye’s frightening treatment of his now-ex-wife, which he has openly broadcast, entirely unafraid of potential consequences either to him as a parent, or to his divorce proceedings. Nobody dropped Ye after he released a song letting Kardashian know that her “\u003ca href=\"https://www.youtube.com/watch?v=vzu9PKB8bLY\">security gon’ need security\u003c/a>” — shortly after buying the house opposite hers. Nobody dropped Ye when he made \u003ca href=\"https://www.youtube.com/watch?v=qy7sci2az88\">a video depicting the murder and beheading of Kardashian’s new boyfriend\u003c/a>, Pete Davidson, whom he also publicly and repeatedly threatened. And nobody batted an eyelash when \u003ca href=\"https://www.the-sun.com/entertainment/4468852/kanye-west-admits-punching-autograph-hunter/\">Ye punched an autograph hunter\u003c/a> and blamed it on the stress of his divorce.\u003c/p>\n\u003cp>Though Ye’s newfound obsession with baseless conspiracies about the Jewish community is undoubtedly dangerous, this is not the first group of people Ye has used his platform to endanger. Ye has been skating past this kind of bad behavior, unscathed, for so many years now, is it any wonder he thought he could say antisemitic things and not get dropped by Adidas?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Adidas, Balenciaga, CAA et al. can feign shock and disgust now, but it has been clear for a very long time who Ye is and what he thinks of the rest of the world. That he suffered no serious financial consequences until this month is part of the reason why his behavior has devolved to this level.\u003c/p>\n\n",
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"excerpt": "Kanye West has been making abusive, anti-Black and misogynistic statements for years. His business associates didn’t care.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As companies all over the world cut ties with Ye (formerly Kanye West) this month, statements against the rapper’s litany of antisemitic assertions have been decisive.\u003c/p>\n\u003cp>“Ye’s recent comments and actions have been unacceptable, hateful and dangerous,” said Adidas.\u003c/p>\n\u003cp>“We cannot support any content that amplifies his platform,” \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/kanye-ye-west-documentary-mrc-shelved-1235247299/\">MRC announced\u003c/a>, as the film and TV company shelved its already-completed Ye documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Fashion house Balenciaga, talent agency CAA and \u003ca href=\"https://pagesix.com/2022/10/21/vogue-has-no-intention-of-working-with-kanye-west-again/\">\u003cem>Vogue\u003c/em>’s Anna Wintour\u003c/a> all cut ties with Ye without much fanfare, but organizations not even working with the rapper took their own stands. “We can’t support hate speech, bigotry or anti-Semitism,” talent agency \u003ca href=\"https://www.hollywoodreporter.com/business/business-news/caa-cuts-ties-with-kanye-west-as-hollywood-boycott-calls-grow-1235247333/\">UTA emailed to its staff\u003c/a>. “Please support the boycott of Kanye West.”\u003c/p>\n\u003cp>Not for nothing. Ye’s recent antisemitic statements have been both shocking and relentless. There was his Oct. 4 declaration that he was going “death con 3 On JEWISH PEOPLE.” There was a \u003ca href=\"https://www.xxlmag.com/kanye-west-war-diddy-texts/\">text exchange Ye himself leaked\u003c/a>, in which he told Sean Combs: “Ima use you as an example to show the Jewish people that told you to call me that no one can threaten or influence me.” And there was the Fox News appearance where Ye stated (among many other terrible, terrible things): “I’d prefer my kids knew Hanukkah than Kwanzaa — at least it would come with some financial engineering.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This latest bout of hate speech is the culmination of years during which Ye has made incendiary and harmful comments — none of which prompted the kind of professional consequences he’s now facing.\u003c/p>\n\u003cp>Adidas, Balenciaga and CAA all stuck by Ye in 2018 after he suggested that \u003ca href=\"https://www.tmz.com/watch/0-lrudlmxu/\">slavery was “a choice”\u003c/a> on TMZ. The companies didn’t react later that year when Ye ended an episode of \u003cem>Saturday Night Live\u003c/em> with \u003ca href=\"https://www.vox.com/policy-and-politics/2018/9/30/17920676/kanye-west-snl-performance-donald-trump\">a rant\u003c/a> that included him saying, “Blacks weren’t always Democrats. It’s like a plan they did to take the fathers out the homes and promote welfare. Does anybody know about that? That’s the Democratic plan.”\u003c/p>\n\u003cp>Ye’s business arrangements were not impacted in 2016 after he specified that he would be hiring “multiracial women only” for Yeezy Season 4 — a choice that inspired accusations of colorism. Nor were they impacted in 2020 when, speaking at a rally, \u003ca href=\"https://www.insider.com/kanye-west-political-rally-abortion-kim-kardashian-north-2020-7\">Ye said that Harriett Tubman “never actually freed the slaves”\u003c/a> but instead sent them to “go work for other white people.”\u003c/p>\n\u003cp>After Ye appeared at Paris Fashion Week wearing a “White Lives Matter” shirt earlier this month, Adidas did put his contracts under review. But it took \u003ca href=\"https://www.kqed.org/arts/13920788/ye-adidas-boycott-kanye-west-antisemitism\">a mountain of online pressure\u003c/a> and \u003ca href=\"https://www.adl.org/resources/letter/adl-letter-adidas-executives-regarding-kanye-west\">an open letter from the Anti-Defamation League\u003c/a> to spur Adidas into more decisive action. (“At this point, what more do you need to review?” ADL CEO Jan Runau asked.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Even with the rash of companies cutting ties with Ye now, the impetus appears to be rooted almost entirely in opposition to his antisemitism. The fact that earlier this month Ye also suggested that George Floyd was killed by fentanyl — and not the police officer \u003ca href=\"https://en.wikipedia.org/wiki/Trial_of_Derek_Chauvin\">convicted of his murder, Derek Chauvin\u003c/a> — has been far less of a focus. (“If you look,” Ye told the \u003cem>Drink Champs\u003c/em> podcast, “the guy’s knee wasn’t even on his neck like that.”) \u003ca href=\"https://www.kqed.org/arts/13920562/the-family-of-george-floyd-plans-to-file-a-250-million-lawsuit-against-ye\">Floyd’s family plans to sue\u003c/a> and \u003cem>Drink Champs\u003c/em> has since denounced Ye’s comments.\u003c/p>\n\u003cp>It has not been lost on the Black community that Ye’s many statements denigrating Black people have never prompted the kind of corporate pushback that his antisemitic comments have. Discussions around it dominated Twitter on Tuesday. “Wish being anti-Black held this much weight,” \u003ca href=\"https://twitter.com/scottiebeam/status/1584892766290841600\">Scottie Beam noted\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It’s also worth wondering why Ye’s longstanding history of misogynistic behavior was never a deal-breaker for his business associates. Ye’s casual sexism started over a decade ago with his repeated attempts to \u003ca href=\"https://www.kqed.org/pop/28206/how-amber-rose-became-an-unlikely-feminist-icon\">publicly humiliate Amber Rose\u003c/a>. He has been open about the joy he gleans from \u003ca href=\"https://www.kqed.org/arts/13908594/julia-fox-kanye-west-ye-fashion-kim-kardashian-paris\">exercising control over his romantic partners’ wardrobes\u003c/a>. (And, thanks to Kardashian-based reality television, we’ve seen the scathing insults he sends when these women don’t comply.)\u003c/p>\n\u003cp>Ye has made not one but two videos in which he fetishizes lifeless female bodies. 2010’s “\u003ca href=\"https://www.youtube.com/watch?v=7oinTbQxETo\">Monster\u003c/a>” was first, with its dead models hanging from the ceiling and dead models lying next to him in bed. (It never got an official release.) Then came 2016’s “\u003ca href=\"https://www.youtube.com/watch?v=p7FCgw_GlWc\">Famous\u003c/a>,” a video that depicted real, non-consenting humans (including Taylor Swift and Amber Rose) as naked and unconscious in bed with Ye and Kim Kardashian. Kardashian was in a face-down position, shielding her modesty. Swift and Rose were not given the same consideration.\u003c/p>\n\u003cp>Earlier this year, Ye decided to proudly (and loudly) \u003ca href=\"https://www.rollingstone.com/music/music-news/kanye-west-marilyn-manson-donda-1292671/\">collaborate with Marilyn Manson\u003c/a>, right after the rocker was accused of a litany of sexual and physical abuses by \u003ca href=\"https://www.kqed.org/arts/13910124/phoenix-rising-evan-rachel-wood-marilyn-manson-abuse-hbo-documentary\">Evan Rachel Wood and a dozen other women\u003c/a>. Ye’s decision to do this was a middle finger to abuse survivors everywhere, and he openly enjoyed it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> Then there’s Ye’s frightening treatment of his now-ex-wife, which he has openly broadcast, entirely unafraid of potential consequences either to him as a parent, or to his divorce proceedings. Nobody dropped Ye after he released a song letting Kardashian know that her “\u003ca href=\"https://www.youtube.com/watch?v=vzu9PKB8bLY\">security gon’ need security\u003c/a>” — shortly after buying the house opposite hers. Nobody dropped Ye when he made \u003ca href=\"https://www.youtube.com/watch?v=qy7sci2az88\">a video depicting the murder and beheading of Kardashian’s new boyfriend\u003c/a>, Pete Davidson, whom he also publicly and repeatedly threatened. And nobody batted an eyelash when \u003ca href=\"https://www.the-sun.com/entertainment/4468852/kanye-west-admits-punching-autograph-hunter/\">Ye punched an autograph hunter\u003c/a> and blamed it on the stress of his divorce.\u003c/p>\n\u003cp>Though Ye’s newfound obsession with baseless conspiracies about the Jewish community is undoubtedly dangerous, this is not the first group of people Ye has used his platform to endanger. Ye has been skating past this kind of bad behavior, unscathed, for so many years now, is it any wonder he thought he could say antisemitic things and not get dropped by Adidas?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adidas, Balenciaga, CAA et al. can feign shock and disgust now, but it has been clear for a very long time who Ye is and what he thinks of the rest of the world. That he suffered no serious financial consequences until this month is part of the reason why his behavior has devolved to this level.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "finding-musical-gems-in-the-bay-areas-african-club-scene",
"title": "Finding Musical Gems in the Bay Area’s African Club Scene",
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"content": "\u003cfigure id=\"attachment_13920647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/djayslim-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Originally from Kenya, DJAYSLIM has been playing African music in the Bay Area for 20 years. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Ugandan American music journalist, African music has been at the center of my work and personal life for years. Before I moved to the Bay Area earlier this year, I’d spent countless evenings dancing to African music in clubs in cities with large, visible African populations like Washington D.C. and New York. I was aware of other hotspots like Atlanta and Houston based on the tour schedules of my favorite artists.\u003c/p>\n\u003cp>But one place that never popped up on my radar as a hub for African music was the Bay. That is, until I heard Fireboy DML’s inescapable 2021 hit, “Peru.” The globetrotting track name-drops other locales beyond its Latin American title, but it was a reference to the Bay that immediately caught my ear.\u003c/p>\n\u003cp>https://youtu.be/GP_LpUoNx-I\u003c/p>\n\u003cp>“I’m in San Francisco jamming,” Fireboy sings in the bridge. From there he reminds us that he “just flew in from Miami” before moving on to other topics like partying and romance. To most it might seem like a throwaway line, something that just sounded nice in the moment, but I wanted to know more.\u003c/p>\n\u003cp>Living in San Jose and working in San Francisco, I wasn’t seeing large African communities like the ones I’d seen on the East Coast. If Fireboy’s song was a clue to where I might find them, I was ready to start looking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I soon found out that Fireboy DML recorded “Peru” in San Francisco at the studios of the independent label and distributor, \u003ca href=\"https://empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a>. \u003ca href=\"https://www.kqed.org/ourturbulentdecade#arts_13870578\" target=\"_blank\" rel=\"noopener noreferrer\">Founded by San Francisco native Ghazi in 2010\u003c/a>, the company made its name in the hip-hop world, inking distribution deals with popular artists like Kendrick Lamar and XXXTentacion. In recent years though, the company has been \u003ca href=\"https://www.forbes.com/sites/rileyvansteward/2022/02/16/african-music-is-big-business-in-america-tik-tok-helped/?sh=3f4291773bee\" target=\"_blank\" rel=\"noopener noreferrer\">setting its sights on Africa\u003c/a>, specifically the infectious pop music coming out of Nigeria and Ghana commonly referred to as Afrobeats.\u003c/p>\n\u003cp>Emboldened by this knowledge, I went looking for the Afrobeats scene, and within a few weeks of moving to the South Bay, I found myself at a monthly party called Soundgasm in San Jose. It’s organized by a DJ named Flygerian Jeff who runs an event company called \u003ca href=\"https://www.instagram.com/unitedtribesof_africa/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">United Tribes of Africa\u003c/a>. Born and raised in Oakland to Nigerian parents, Jeff is one of the most active DJs and event organizers in the scene, throwing regular events all across the Bay Area. [aside postid='arts_13918796']\u003c/p>\n\u003cp>But when I walked in, the first person I saw was \u003ca href=\"https://www.instagram.com/djayslim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJAYSLIM\u003c/a>.\u003c/p>\n\u003cp>He was queuing up hit after hit: “Assurance” by Nigerian star Davido, then “Case” by fellow Nigerian Teni. When his turn at the decks was over, we got to talking, and I learned that he has been playing African music in the Bay Area for close to two decades.\u003c/p>\n\u003cp>In 2001, DJAYSLIM, whose real name is Martin Mwangi, left Nairobi, Kenya and moved into his sister’s place in Oakland. Her boyfriend at the time was a DJ. Mwangi had never considered DJing, but his deep love of music and an open set of turntables in the house propelled him to give it a shot.\u003c/p>\n\u003cp>“I would just practice in the house when my sister [was] at work during the day. At that time my love was reggae and dancehall. That’s the time for ‘\u003ca href=\"https://www.youtube.com/watch?v=InlfCLX02V8&ab_channel=TantoMetroandDevonte-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">Everyone Falls In Love\u003c/a>,’ ‘Heads High.’ That’s all you heard the whole time,” recalled Mwangi.\u003c/p>\n\u003cp>https://youtu.be/tMPP1F45ptM\u003c/p>\n\u003cp>In the early 2000s, the reggae and dancehall scene in Oakland was robust. Clubs like New Karibbean City, Oasis and Air Lounge had regular events. African music, however, was a lot harder to find. The first time Mwangi heard someone playing African music at a club in the Bay, it came from an unexpected source. He went to an international-themed party at the Shattuck Down Low in Berkeley where he saw \u003ca href=\"https://www.youtube.com/watch?v=INkYANBjd-c\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a>, of the storied Bay Area hip-hop group Digital Underground, spinning the latest jams from the continent.\u003c/p>\n\u003cp>“DJ Fuze had gone on tour to Paris, France, and when he was there, he’s a curious guy so he’s like, ‘Oh, what music is this they’re listening to?’ So he collected [Magic System’s] ‘Premier Gaou.’”\u003c/p>\n\u003cp>https://youtu.be/XCXqRDb0EDM\u003c/p>\n\u003cp>“He played it while we were there at the club. I ran to the DJ booth. I’m like, ‘How does this guy know this music?’ There’s no YouTube, there’s nothing, right? So us Africans, we went crazy. And at that moment I was like, ‘This is what I want to do, and I want to do it the African style.’”\u003c/p>\n\u003cp>Mwangi started off throwing house parties for the Kenyan community, where he would cycle between dancehall, reggae and a few CDs of African pop music he would get from someone who had recently traveled home. It wasn’t the most efficient way to share music, but it worked in bringing together different groups of Africans in the Bay Area.\u003c/p>\n\u003cp>“Nigerians used to hang out with Kenyans a lot here,” Mwangi recalled. “One of the gentlemen used to be a promoter. [He] came to a Kenyan event and heard me play and he was like, ‘Yo, I’m gonna invite you for this Nigerian event. Just come, we’ll give you the music.’ And guess what he gave me? ‘No One But You,’ P-Square! He gave me that CD, saying ‘Play number one and number four,’ I’ll never forget!”\u003c/p>\n\u003cp>https://youtu.be/ty2advRiWJM\u003c/p>\n\u003cp>Artists with Pan-African hits like Ivorian group Magic System and Nigerian duo P-Square helped popularize African pop music in the diaspora. African DJs like Mwangi, capitalizing on this growing popularity, started pushing promoters to let them play African music in mainstream clubs. Eventually, Mwangi and another key figure named DJ Burt started one of the first regular events, a monthly night called First Saturdays.\u003c/p>\n\u003cp>“That was all African music from the beginning to the end. Now Africans had a place to go at a mainstream club,” said Mwangi.\u003c/p>\n\u003cp>https://www.instagram.com/p/CiJbvDVPVeV/?hl=en\u003c/p>\n\u003cp>Since meeting Mwangi, I’ve spent many weekend nights at African parties in Oakland clubs like AU Lounge, Zanzi and Parliament. These days, Mwangi is one of many players in the East Bay African music scene, which includes established event organizers like United Tribes of Africa and \u003ca href=\"https://www.instagram.com/afrobeatsoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Afrobeats Oakland\u003c/a>, the latter of which is spearheaded by a DJ named Juan G, who throws a \u003ca href=\"https://datebook.sfchronicle.com/music/how-this-oakland-dj-is-helping-push-afrobeats-into-the-pop-mainstream\" target=\"_blank\" rel=\"noopener noreferrer\">huge Afrobeats day party at Lake Merritt every summer\u003c/a>. But since I don’t live or work in the East Bay, I remained curious about other parts of the region, like San Francisco, where it was harder to find African communities.\u003c/p>\n\u003cfigure id=\"attachment_13920649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The front of Bissap Baobab on Mission Street in San Francisco on Oct. 19, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My search ended when I found myself at the grand re-opening of \u003ca href=\"https://www.bissapbaobab.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bissap Baobab\u003c/a> in San Francisco’s Mission district last month. During the day it’s a Senegalese restaurant, and in the evening it’s a sweaty dance floor pumping out the latest African pop music. And it’s been serving this dual role in the community for more than 20 years.\u003c/p>\n\u003cp>The event was a re-opening because, in 2019, owner Marco Senghor sold the original space to help pay the legal fees of a \u003ca href=\"https://www.sfchronicle.com/restaurants/article/The-legacy-and-death-of-Bissap-Baobab-San-13703961.php\" target=\"_blank\" rel=\"noopener noreferrer\">sudden immigration battle\u003c/a>. With help from community members and friends, he was able to stay in the country, but he lost his venue along the way. This fall, after a three-year absence, Bissap Baobab was finally able to reopen its doors.\u003c/p>\n\u003cfigure id=\"attachment_13920659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky’s Grupo Afro-Nativo perform at Bissap Baobab on Mission Street in San Francisco on Oct. 19, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the space is immediately warm and inviting. The walls are awash with shades of orange, red, yellow and blue, murals and eclectic art. It doesn’t all go together, but it feels like that’s the point.\u003c/p>\n\u003cp>On the Friday night I attended, by 11 p.m. the dance floor was full of people letting loose. The DJ spun a blend of African, Latin American and Caribbean music, and the vibe was energetically joyful.\u003c/p>\n\u003cp>First-timer Ineza, who withheld her last name for privacy reasons, tells me she’s from Rwanda and that it’s shocking to find a space like Baobab in San Francisco due to limited Black visibility in the city.\u003c/p>\n\u003cp>“I feel like I’ve been transported to a metropolitan African city,” Ineza said. “I’m really enjoying the music and the vibes. I love the African art everywhere. It’s making me feel like home.”\u003c/p>\n\u003cfigure id=\"attachment_13920650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Bissap Baobab on Mission Street in San Francisco on Oct. 19, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ineza’s shock at finding a Black venue in the city is not unfounded. The Black population in San Francisco is the only racial demographic in the city that has consistently declined since the 1970s. In 1990 San Francisco was 10% Black – lower than other major cities but still comparable to the national average of 12% at the time. However, by 2021, the city’s Black population had shrunk to 5.7% while the national average rose to nearly 14%.\u003c/p>\n\u003cp>Native San Franciscan Chris, who also withheld his last name, is a longtime attendee of Baobab’s parties. For him, Bissap Baobab represents much more than just a fun place to go out and listen to African music.\u003c/p>\n\u003cp>“[It’s the] last hope for the Black people around this community, pretty much,” he told me.\u003c/p>\n\u003cp>When I first set out looking for African music in the Bay I didn’t expect to find much of a community, let alone one as resilient as Bissap Baobab or as robust as the clubs and DJs in the East Bay. It’s a helpful reminder that there’s often much more than meets the eye. When in doubt, to follow the music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>If you want to hear some African music in the Bay this weekend, on Oct. 21 you can catch \u003ca href=\"https://www.eventbrite.com/e/ginger-afrobeats-eventoakland-tickets-428352412597?aff=odcleoeventsincollection\" target=\"_blank\" rel=\"noopener noreferrer\">United Tribes of Africa\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/afrobeats-to-the-world-oakland-tickets-411394972437?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Afrobeats Oakland\u003c/a> in the East Bay. Bissap Baobab has an African dance party every Friday and Saturday night. And on Oct. 23, DJAYSLIM will be throwing his \u003ca href=\"https://www.instagram.com/p/Cj2KVWfInwu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Afro Sundays day party\u003c/a> in Oakland.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A longer version of this story first aired on the podcast \u003ca href=\"https://afropop.org/audio-programs/afrobeats-by-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Afropop Worldwide\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13920647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/djayslim-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/djayslim.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Originally from Kenya, DJAYSLIM has been playing African music in the Bay Area for 20 years. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Ugandan American music journalist, African music has been at the center of my work and personal life for years. Before I moved to the Bay Area earlier this year, I’d spent countless evenings dancing to African music in clubs in cities with large, visible African populations like Washington D.C. and New York. I was aware of other hotspots like Atlanta and Houston based on the tour schedules of my favorite artists.\u003c/p>\n\u003cp>But one place that never popped up on my radar as a hub for African music was the Bay. That is, until I heard Fireboy DML’s inescapable 2021 hit, “Peru.” The globetrotting track name-drops other locales beyond its Latin American title, but it was a reference to the Bay that immediately caught my ear.\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/GP_LpUoNx-I'\n title='//www.youtube.com/embed/GP_LpUoNx-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m in San Francisco jamming,” Fireboy sings in the bridge. From there he reminds us that he “just flew in from Miami” before moving on to other topics like partying and romance. To most it might seem like a throwaway line, something that just sounded nice in the moment, but I wanted to know more.\u003c/p>\n\u003cp>Living in San Jose and working in San Francisco, I wasn’t seeing large African communities like the ones I’d seen on the East Coast. If Fireboy’s song was a clue to where I might find them, I was ready to start looking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I soon found out that Fireboy DML recorded “Peru” in San Francisco at the studios of the independent label and distributor, \u003ca href=\"https://empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a>. \u003ca href=\"https://www.kqed.org/ourturbulentdecade#arts_13870578\" target=\"_blank\" rel=\"noopener noreferrer\">Founded by San Francisco native Ghazi in 2010\u003c/a>, the company made its name in the hip-hop world, inking distribution deals with popular artists like Kendrick Lamar and XXXTentacion. In recent years though, the company has been \u003ca href=\"https://www.forbes.com/sites/rileyvansteward/2022/02/16/african-music-is-big-business-in-america-tik-tok-helped/?sh=3f4291773bee\" target=\"_blank\" rel=\"noopener noreferrer\">setting its sights on Africa\u003c/a>, specifically the infectious pop music coming out of Nigeria and Ghana commonly referred to as Afrobeats.\u003c/p>\n\u003cp>Emboldened by this knowledge, I went looking for the Afrobeats scene, and within a few weeks of moving to the South Bay, I found myself at a monthly party called Soundgasm in San Jose. It’s organized by a DJ named Flygerian Jeff who runs an event company called \u003ca href=\"https://www.instagram.com/unitedtribesof_africa/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">United Tribes of Africa\u003c/a>. Born and raised in Oakland to Nigerian parents, Jeff is one of the most active DJs and event organizers in the scene, throwing regular events all across the Bay Area. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when I walked in, the first person I saw was \u003ca href=\"https://www.instagram.com/djayslim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DJAYSLIM\u003c/a>.\u003c/p>\n\u003cp>He was queuing up hit after hit: “Assurance” by Nigerian star Davido, then “Case” by fellow Nigerian Teni. When his turn at the decks was over, we got to talking, and I learned that he has been playing African music in the Bay Area for close to two decades.\u003c/p>\n\u003cp>In 2001, DJAYSLIM, whose real name is Martin Mwangi, left Nairobi, Kenya and moved into his sister’s place in Oakland. Her boyfriend at the time was a DJ. Mwangi had never considered DJing, but his deep love of music and an open set of turntables in the house propelled him to give it a shot.\u003c/p>\n\u003cp>“I would just practice in the house when my sister [was] at work during the day. At that time my love was reggae and dancehall. That’s the time for ‘\u003ca href=\"https://www.youtube.com/watch?v=InlfCLX02V8&ab_channel=TantoMetroandDevonte-Topic\" target=\"_blank\" rel=\"noopener noreferrer\">Everyone Falls In Love\u003c/a>,’ ‘Heads High.’ That’s all you heard the whole time,” recalled Mwangi.\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/tMPP1F45ptM'\n title='//www.youtube.com/embed/tMPP1F45ptM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the early 2000s, the reggae and dancehall scene in Oakland was robust. Clubs like New Karibbean City, Oasis and Air Lounge had regular events. African music, however, was a lot harder to find. The first time Mwangi heard someone playing African music at a club in the Bay, it came from an unexpected source. He went to an international-themed party at the Shattuck Down Low in Berkeley where he saw \u003ca href=\"https://www.youtube.com/watch?v=INkYANBjd-c\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a>, of the storied Bay Area hip-hop group Digital Underground, spinning the latest jams from the continent.\u003c/p>\n\u003cp>“DJ Fuze had gone on tour to Paris, France, and when he was there, he’s a curious guy so he’s like, ‘Oh, what music is this they’re listening to?’ So he collected [Magic System’s] ‘Premier Gaou.’”\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/XCXqRDb0EDM'\n title='//www.youtube.com/embed/XCXqRDb0EDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He played it while we were there at the club. I ran to the DJ booth. I’m like, ‘How does this guy know this music?’ There’s no YouTube, there’s nothing, right? So us Africans, we went crazy. And at that moment I was like, ‘This is what I want to do, and I want to do it the African style.’”\u003c/p>\n\u003cp>Mwangi started off throwing house parties for the Kenyan community, where he would cycle between dancehall, reggae and a few CDs of African pop music he would get from someone who had recently traveled home. It wasn’t the most efficient way to share music, but it worked in bringing together different groups of Africans in the Bay Area.\u003c/p>\n\u003cp>“Nigerians used to hang out with Kenyans a lot here,” Mwangi recalled. “One of the gentlemen used to be a promoter. [He] came to a Kenyan event and heard me play and he was like, ‘Yo, I’m gonna invite you for this Nigerian event. Just come, we’ll give you the music.’ And guess what he gave me? ‘No One But You,’ P-Square! He gave me that CD, saying ‘Play number one and number four,’ I’ll never forget!”\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/ty2advRiWJM'\n title='//www.youtube.com/embed/ty2advRiWJM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Artists with Pan-African hits like Ivorian group Magic System and Nigerian duo P-Square helped popularize African pop music in the diaspora. African DJs like Mwangi, capitalizing on this growing popularity, started pushing promoters to let them play African music in mainstream clubs. Eventually, Mwangi and another key figure named DJ Burt started one of the first regular events, a monthly night called First Saturdays.\u003c/p>\n\u003cp>“That was all African music from the beginning to the end. Now Africans had a place to go at a mainstream club,” said Mwangi.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since meeting Mwangi, I’ve spent many weekend nights at African parties in Oakland clubs like AU Lounge, Zanzi and Parliament. These days, Mwangi is one of many players in the East Bay African music scene, which includes established event organizers like United Tribes of Africa and \u003ca href=\"https://www.instagram.com/afrobeatsoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Afrobeats Oakland\u003c/a>, the latter of which is spearheaded by a DJ named Juan G, who throws a \u003ca href=\"https://datebook.sfchronicle.com/music/how-this-oakland-dj-is-helping-push-afrobeats-into-the-pop-mainstream\" target=\"_blank\" rel=\"noopener noreferrer\">huge Afrobeats day party at Lake Merritt every summer\u003c/a>. But since I don’t live or work in the East Bay, I remained curious about other parts of the region, like San Francisco, where it was harder to find African communities.\u003c/p>\n\u003cfigure id=\"attachment_13920649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59458_002_KQED_BissapBaobabSF_10192022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The front of Bissap Baobab on Mission Street in San Francisco on Oct. 19, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My search ended when I found myself at the grand re-opening of \u003ca href=\"https://www.bissapbaobab.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bissap Baobab\u003c/a> in San Francisco’s Mission district last month. During the day it’s a Senegalese restaurant, and in the evening it’s a sweaty dance floor pumping out the latest African pop music. And it’s been serving this dual role in the community for more than 20 years.\u003c/p>\n\u003cp>The event was a re-opening because, in 2019, owner Marco Senghor sold the original space to help pay the legal fees of a \u003ca href=\"https://www.sfchronicle.com/restaurants/article/The-legacy-and-death-of-Bissap-Baobab-San-13703961.php\" target=\"_blank\" rel=\"noopener noreferrer\">sudden immigration battle\u003c/a>. With help from community members and friends, he was able to stay in the country, but he lost his venue along the way. This fall, after a three-year absence, Bissap Baobab was finally able to reopen its doors.\u003c/p>\n\u003cfigure id=\"attachment_13920659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59468_012_KQED_BissapBaobabSF_10192022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky’s Grupo Afro-Nativo perform at Bissap Baobab on Mission Street in San Francisco on Oct. 19, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inside, the space is immediately warm and inviting. The walls are awash with shades of orange, red, yellow and blue, murals and eclectic art. It doesn’t all go together, but it feels like that’s the point.\u003c/p>\n\u003cp>On the Friday night I attended, by 11 p.m. the dance floor was full of people letting loose. The DJ spun a blend of African, Latin American and Caribbean music, and the vibe was energetically joyful.\u003c/p>\n\u003cp>First-timer Ineza, who withheld her last name for privacy reasons, tells me she’s from Rwanda and that it’s shocking to find a space like Baobab in San Francisco due to limited Black visibility in the city.\u003c/p>\n\u003cp>“I feel like I’ve been transported to a metropolitan African city,” Ineza said. “I’m really enjoying the music and the vibes. I love the African art everywhere. It’s making me feel like home.”\u003c/p>\n\u003cfigure id=\"attachment_13920650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/RS59464_007_KQED_BissapBaobabSF_10192022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Bissap Baobab on Mission Street in San Francisco on Oct. 19, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ineza’s shock at finding a Black venue in the city is not unfounded. The Black population in San Francisco is the only racial demographic in the city that has consistently declined since the 1970s. In 1990 San Francisco was 10% Black – lower than other major cities but still comparable to the national average of 12% at the time. However, by 2021, the city’s Black population had shrunk to 5.7% while the national average rose to nearly 14%.\u003c/p>\n\u003cp>Native San Franciscan Chris, who also withheld his last name, is a longtime attendee of Baobab’s parties. For him, Bissap Baobab represents much more than just a fun place to go out and listen to African music.\u003c/p>\n\u003cp>“[It’s the] last hope for the Black people around this community, pretty much,” he told me.\u003c/p>\n\u003cp>When I first set out looking for African music in the Bay I didn’t expect to find much of a community, let alone one as resilient as Bissap Baobab or as robust as the clubs and DJs in the East Bay. It’s a helpful reminder that there’s often much more than meets the eye. When in doubt, to follow the music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>If you want to hear some African music in the Bay this weekend, on Oct. 21 you can catch \u003ca href=\"https://www.eventbrite.com/e/ginger-afrobeats-eventoakland-tickets-428352412597?aff=odcleoeventsincollection\" target=\"_blank\" rel=\"noopener noreferrer\">United Tribes of Africa\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/afrobeats-to-the-world-oakland-tickets-411394972437?aff=ebdsoporgprofile\" target=\"_blank\" rel=\"noopener noreferrer\">Afrobeats Oakland\u003c/a> in the East Bay. Bissap Baobab has an African dance party every Friday and Saturday night. And on Oct. 23, DJAYSLIM will be throwing his \u003ca href=\"https://www.instagram.com/p/Cj2KVWfInwu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Afro Sundays day party\u003c/a> in Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A longer version of this story first aired on the podcast \u003ca href=\"https://afropop.org/audio-programs/afrobeats-by-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">Afropop Worldwide\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-hyphy-history-with-producer-trackademicks-revisited",
"title": "A Hyphy History with Producer Trackademicks, Revisited",
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"headTitle": "A Hyphy History with Producer Trackademicks, Revisited | KQED",
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"content": "\u003cp>October 25, 2022 marks the third anniversary of the launch of the Rightnowish podcast!\u003c/p>\n\u003cp>First formed as a radio show in early 2019, Rightnowish, the podcast launched in late October of the same year. Since then we’ve been churning out stories just about every week: Rain, shine, pandemic or protests, we’ve been talking to artists, activists, actors and academics about this thing called life in the Bay Area.\u003c/p>\n\u003cp>This week, we’re revisiting an episode that’s emblematic of this show’s ethos.\u003c/p>\n\u003cp>In July of 2021 we published \u003ca href=\"https://www.kqed.org/arts/13900205/rightnowish-trackademicks\" target=\"_blank\" rel=\"noopener noreferrer\">an episode\u003c/a> featuring Alameda’s own producer and DJ, \u003ca href=\"https://www.instagram.com/trackademicks/?hl=en\">Trackademicks\u003c/a>. Known as the “cool collar scholar” from the \u003ca href=\"https://twitter.com/HNRLcrew\" target=\"_blank\" rel=\"noopener noreferrer\">HNRL collective\u003c/a>, Trackademicks is a music producer who makes original songs and has a knack for remixing popular tracks, and adding that Bay Area flavor. In the early 2000s, his “\u003ca href=\"https://www.youtube.com/watch?v=ii7QSbxg88w\" target=\"_blank\" rel=\"noopener noreferrer\">Tell Me When To Go\u003c/a>” remix cemented his name in the Bay Area musical history books.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ii7QSbxg88w\u003c/p>\n\u003cp>When we talked last year, we discussed the history of Hyphy music and how he, as a Black and Filipino person, sees remixing as a part of his DNA. Since then, he’s DJ’d at functions in LA, and he’s produced more music including some forthcoming remix projects, like this mashup of\u003ca href=\"https://www.instagram.com/p/Cjt00PsvKX0/\"> Janet Jackson and Andre 3000\u003c/a>. Check it out.\u003c/p>\n\u003cp>Annnnndddddd…Trackademicks has recently gotten married! Congrats to him and his partner!\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2929807156\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3MR9RVL\">Read the transcript\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks. Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B. \u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySel0OB-TDw\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K71IXLQpGss\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoQ4AtsFWVM\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qMnTawcUZLQ\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b8kTV4VtKA\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v2QjOclOzkU\u003c/p>\n\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v37_C3WaTNk\u003c/p>\n\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>October 25, 2022 marks the third anniversary of the launch of the Rightnowish podcast!\u003c/p>\n\u003cp>First formed as a radio show in early 2019, Rightnowish, the podcast launched in late October of the same year. Since then we’ve been churning out stories just about every week: Rain, shine, pandemic or protests, we’ve been talking to artists, activists, actors and academics about this thing called life in the Bay Area.\u003c/p>\n\u003cp>This week, we’re revisiting an episode that’s emblematic of this show’s ethos.\u003c/p>\n\u003cp>In July of 2021 we published \u003ca href=\"https://www.kqed.org/arts/13900205/rightnowish-trackademicks\" target=\"_blank\" rel=\"noopener noreferrer\">an episode\u003c/a> featuring Alameda’s own producer and DJ, \u003ca href=\"https://www.instagram.com/trackademicks/?hl=en\">Trackademicks\u003c/a>. Known as the “cool collar scholar” from the \u003ca href=\"https://twitter.com/HNRLcrew\" target=\"_blank\" rel=\"noopener noreferrer\">HNRL collective\u003c/a>, Trackademicks is a music producer who makes original songs and has a knack for remixing popular tracks, and adding that Bay Area flavor. In the early 2000s, his “\u003ca href=\"https://www.youtube.com/watch?v=ii7QSbxg88w\" target=\"_blank\" rel=\"noopener noreferrer\">Tell Me When To Go\u003c/a>” remix cemented his name in the Bay Area musical history books.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ii7QSbxg88w'\n title='//www.youtube.com/embed/ii7QSbxg88w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When we talked last year, we discussed the history of Hyphy music and how he, as a Black and Filipino person, sees remixing as a part of his DNA. Since then, he’s DJ’d at functions in LA, and he’s produced more music including some forthcoming remix projects, like this mashup of\u003ca href=\"https://www.instagram.com/p/Cjt00PsvKX0/\"> Janet Jackson and Andre 3000\u003c/a>. Check it out.\u003c/p>\n\u003cp>Annnnndddddd…Trackademicks has recently gotten married! Congrats to him and his partner!\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\u003c/h5>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2929807156\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3MR9RVL\">Read the transcript\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Below are lightly edited excerpts of our episode on Hyphy history with Trackademicks. Listen to get the full experience and to hear more about how Trackademicks remixed a classic and worked with artists like Mistah F.A.B. \u003c/b>\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> I think it’s time for a Bay Area history lesson on hyphy music, and who better to talk to than the cool collar scholar himself, the HNRL producer who has worked with J. Stalin, Kamaiyah, Mistah F.A.B. and more. His name is Trackademicks, and he knows a thing or two about hip-hop history in this region.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s the first hyphy song you ever heard?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> I’d have to say that E-40 album … it had the song “Gasoline” with Turf Talk. That’s when I first started hearing like, ‘oh, this is an actual crazy sound.’ The hyphy sound. Turf Talk’s voice next to E-40’s voice, it just kind of created this crazy tone where it’s just unruly. It was in your face.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ySel0OB-TDw'\n title='//www.youtube.com/embed/ySel0OB-TDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The beat’s by Rick Rock.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Rick Rock was the Northern California producer behind classic old-school songs, contemporary hits, and a ton of songs from major hip-hop artists, like Tupac, Jay-Z … even \u003ca href=\"https://www.youtube.com/watch?v=WDaNJW_jEBo\">Busta Rhymes and Mariah Carey\u003c/a>. Rick Rock was one of the producers who laid the cornerstone to the hyphy sound — producing songs like \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">“Hyphy”\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0vtZ0bYEW28\">“Go Dumb”\u003c/a> by The Federation, as well as E-40’s “Yay Area.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K71IXLQpGss'\n title='//www.youtube.com/embed/K71IXLQpGss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Rick Rock was making crazy beats. He was making more uptempo songs with wacky, wacky sounds and crazy percussion. This is something different, it’s hyphy. I mean, we didn’t have the terminology yet. But it slapped.\u003c/p>\n\u003ch3>Where Did the Word “Hyphy” Come From?\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> “Hyphy” the word was first said on record by East Oakland’s Keak Da Sneak in the mid-’90s. It gained popularity in the early 2000s. But in the early days when Keak started using it, “hyphy” didn’t mean what it means now.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> He’s the one who created the hyphy terminology. In Oakland, hyphy … didn’t mean fun. Hyphy meant … “They hyphy over there.” Like I’m not trying to go over there. They might rob you. You never know what’s going on.\u003c/p>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> But, as language does, the term evolved to mean hyperactive — in a good way. Full of exuberant energy, the life of the party.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Hyphy is pure energy. It’s not a clap sound or ghostriding whips and all that … it’s pure energy.\u003c/p>\n\u003ch3>The Musical Lineage that Created Hyphy\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The hyphy sound in the mid-2000s didn’t come out of nowhere; it was a combination of the energy of the people and the evolution of music styles happening locally. To start us off, back in the day, there was funk music…\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AoQ4AtsFWVM'\n title='//www.youtube.com/embed/AoQ4AtsFWVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> The heavy bass and synthesizers from funk shifted into a darker tone… becoming \u003ca href=\"https://www.criticalminded.com/2016/11/27/bay-area-mobb-music/\" target=\"_blank\" rel=\"noopener noreferrer\">mobb music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> In the ’80s, you had prehistoric mobb music. I call it prehistoric, Cro-Magnon mobb music, where it was influenced by East Coast rap like Whodini.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qMnTawcUZLQ'\n title='//www.youtube.com/embed/qMnTawcUZLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Trackademicks:\u003c/strong> Specifically here, it’s just the bass lines, and the ominous sounds … the Moog synths, and the different synthesizers that they were using back then. So that’s the first iteration, like that mobb, that ’80s, you know, Too Short.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1b8kTV4VtKA'\n title='//www.youtube.com/embed/1b8kTV4VtKA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis:\u003c/strong> Everyone knows Short sampled Parliament Funkadelic and James Brown, but it’s the deep cuts that show how foundational the funk was. Tracks like the Conscious Daughters’ “\u003ca href=\"https://www.youtube.com/watch?v=p8KZ2CIpjto\">Somethin’ to Ride To (Fonky Expedition)\u003c/a>”. That song is built off a sample of the S.O.S. Band’s “\u003ca href=\"https://www.youtube.com/watch?v=JSEbDN49bYM\">No One’s Going to Love You\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> As it went through the late ’90s, mobb music started re-interpolating a lot of things. Musicians like Ant Banks and Khayree were producing very lavish productions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v2QjOclOzkU'\n title='//www.youtube.com/embed/v2QjOclOzkU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Pendarvis: \u003c/strong>That sound got juiced up and grew into what we know as hyphy — same bass, more tempo, not as dark, and a lot more fun. The mobb era came with different flavors from all across Northern California. Similarly, the hyphy movement had different flavors from different towns too. There was \u003ca href=\"https://www.youtube.com/watch?v=mLRCIja0Eb4\">Dem Hoodstarz\u003c/a> out of East Palo Alto. \u003ca href=\"https://www.youtube.com/watch?v=o6FDYlpKek0\">J. Stalin and Livewire Records\u003c/a> out of West Oakland, and \u003ca href=\"https://www.youtube.com/watch?v=oe7ohnlZhBc\">The Federation\u003c/a> out of Fairfield, to name a few. And many artists had careers that spanned both mobb music and the hyphy movement — like Too Short, E-40, and this one guy whose birth name is Andre Hicks. But you might know him as the Furly Ghost, Ronald Dregan, Thizzelle Washington, Andre Macassi, the Cold Crest Creeper, or simply: Mac Dre.\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> The thing that Mac Dre brought was the energy of hyphy, the caricature, the character of hyphy. He kind of set the groundwork of the fun aspect of it. And as the music started to catch up, with Rick Rock and E-40 bringing that actual sonic sound of hyphy, that connected with the characters that Mac Dre gave F.A.B in the 2000s. The baton from Mac Dre was kind of passed to Mistah F.A.B, and in that regard, everybody else.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/v37_C3WaTNk'\n title='//www.youtube.com/embed/v37_C3WaTNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Music Today\u003c/h3>\n\u003cp>\u003cstrong>Pendarvis:\u003c/strong> What’s going on right now in terms of the Bay Area sound?\u003c/p>\n\u003cp>\u003cstrong>Trackademicks:\u003c/strong> It’s all like a post-mobb and hyphy sound kind of mixed together. So you have a lot of the slap and kind of the general rhythmic disposition. We’re back to the ominous chords and the pianos. It’s undeniable that the sonic backdrop of it all is a direct descendant of the older Bay Area music. Even someone like Rexx Life Raj, where it’s almost like soulful mobb or soulful hyphy. It amazes me how much it stays ingrained in our music. And I believe that it’s going to stay, because it actually has influenced the whole landscape of music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Family of George Floyd Plans to File a $250 Million Lawsuit Against Ye",
"headTitle": "The Family of George Floyd Plans to File a $250 Million Lawsuit Against Ye | KQED",
"content": "\u003cp>The family of George Floyd announced Tuesday that they will file a $250 million lawsuit against Ye, the rapper formerly known as Kanye West, following comments he made about Floyd’s death on the podcast \u003cem>Drink Champs\u003c/em>.\u003c/p>\n\u003cp>Hennepin County Medical Examiner’s Office ruled that George Floyd’s death was a homicide, caused by Derek Chauvin kneeling on Floyd’s neck for over eight minutes. But Ye — who was a guest on last weekend’s episode of the podcast hosted by rapper N.O.R.E and DJ EFN — put forth the idea that it wasn’t Chauvin who caused Floyd’s death, but that he died from fentanyl use.\u003c/p>\n\u003ch3>The family seeks damages for defamation, harassment and more\u003c/h3>\n\u003cp>[aside postid='arts_13882412']The lawsuit will be filed by Roxie Washington, the mother of Gianna Floyd: George Floyd’s only daughter and the sole beneficiary of his estate. Washington plans to sue Ye, his business partners and associates for “harassment, misappropriation, defamation and infliction of emotional distress seeking $250 million dollars in damages,”\u003ca href=\"https://www.facebook.com/photo/?fbid=556238199836859&set=pcb.556238249836854\" target=\"_blank\" rel=\"noopener noreferrer\"> according to a statement\u003c/a> from Washington’s attorneys.\u003c/p>\n\u003cp>“Kanye’s comments are a repugnant attempt to discount George Floyd’s life and to profit from his inhumane death,” said Attorney Pat D. Dixon III. “We will hold Mr. West accountable for his flagrant remarks against Mr. Floyd’s legacy.”\u003c/p>\n\u003cp>Attorneys for the family have also issued a cease-and-desist letter to Ye for his comments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Free Speech Rights do not include harassment, lies, misrepresentation, and the misappropriation of George Floyd’s legacy. Some words have consequences and Mr. West will be made to understand that,” said Kay Harper Williams, another of Washington’s attorneys.\u003c/p>\n\u003ch3>Ye’s First Amendment rights will be a factor in this case, expert says\u003c/h3>\n\u003cp>On the matter of First Amendment rights, however, the family may have an uphill legal battle against Ye, said Roy S. Gutterman, the director of the Tully Center for Free Speech at the University of Syracuse.\u003c/p>\n\u003cp>[aside postid='pop_49104']“First off, there is no possibility of a defamation action here, because there would be no living plaintiff whose reputation has been damaged,” Gutterman told NPR. “Libel and slander require a live plaintiff, and family members or surviving family members do not have standing to sue for defamation.”\u003c/p>\n\u003cp>One possible path for this lawsuit, though, would be the the allegation of intentional infliction of emotional distress, Gutterman said — although it will be difficult to claim. “This requires the plaintiff to prove that the statements were intentional or reckless, outside the bounds of accepted decency and morality and causally-connected to some viable harm,” he said. “This tort is often a difficult claim to collect on, especially with a media defendant.”\u003c/p>\n\u003cp>However, proving this claim is not impossible; notably, Sandy Hook families successfully sued Alex Jones on this secondary tort in a recent civil trial in Connecticut.\u003c/p>\n\u003ch3>\u003cem>Drink Champs \u003c/em>has issued apologies for the episode\u003c/h3>\n\u003cp>Ye’s episode of \u003cem>Drink Champs\u003c/em> was pulled earlier this week.\u003c/p>\n\u003cp>“\u003cem>Drink Champs\u003c/em> prides itself on its ability to allow a free flow of ideas within the hip hop community,” a representative for the program told \u003ca href=\"https://www.hollywoodreporter.com/news/music-news/kanye-ye-west-george-floyd-drink-champs-podcast-pulled-1235242504/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a>\u003cem>.” \u003c/em>That being said, unfortunately, the recent interview with Kanye West contained false and hurtful information regarding the circumstances surrounding the murder of George Floyd.”\u003c/p>\n\u003cp>[aside postid='arts_13908594']Host \u003ca href=\"https://www.marca.com/en/lifestyle/celebrities/2022/10/18/634df9dcca4741ce6f8b45a6.html\" target=\"_blank\" rel=\"noopener noreferrer\">N.O.R.E called into Hot 97\u003c/a>‘s Ebro in the Morning to talk about the episode and issued an apology.\u003c/p>\n\u003cp>“I’m sorry,” he said. “I can sit there and say, ‘That’s only Kanye West\u003cstrong>,\u003c/strong> it’s only what he said.’ But I have a responsibility when I have an audience. When I watched myself, I was embarrassed. I was like, ‘Wait a minute? You just let him say that?’ I’m irresponsible for letting it go.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Representatives for Kanye West did not immediately return messages for comment.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+family+of+George+Floyd+plans+to+file+a+%24250+million+lawsuit+against+Ye&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The family of George Floyd announced Tuesday that they will file a $250 million lawsuit against Ye, the rapper formerly known as Kanye West, following comments he made about Floyd’s death on the podcast \u003cem>Drink Champs\u003c/em>.\u003c/p>\n\u003cp>Hennepin County Medical Examiner’s Office ruled that George Floyd’s death was a homicide, caused by Derek Chauvin kneeling on Floyd’s neck for over eight minutes. But Ye — who was a guest on last weekend’s episode of the podcast hosted by rapper N.O.R.E and DJ EFN — put forth the idea that it wasn’t Chauvin who caused Floyd’s death, but that he died from fentanyl use.\u003c/p>\n\u003ch3>The family seeks damages for defamation, harassment and more\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The lawsuit will be filed by Roxie Washington, the mother of Gianna Floyd: George Floyd’s only daughter and the sole beneficiary of his estate. Washington plans to sue Ye, his business partners and associates for “harassment, misappropriation, defamation and infliction of emotional distress seeking $250 million dollars in damages,”\u003ca href=\"https://www.facebook.com/photo/?fbid=556238199836859&set=pcb.556238249836854\" target=\"_blank\" rel=\"noopener noreferrer\"> according to a statement\u003c/a> from Washington’s attorneys.\u003c/p>\n\u003cp>“Kanye’s comments are a repugnant attempt to discount George Floyd’s life and to profit from his inhumane death,” said Attorney Pat D. Dixon III. “We will hold Mr. West accountable for his flagrant remarks against Mr. Floyd’s legacy.”\u003c/p>\n\u003cp>Attorneys for the family have also issued a cease-and-desist letter to Ye for his comments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Free Speech Rights do not include harassment, lies, misrepresentation, and the misappropriation of George Floyd’s legacy. Some words have consequences and Mr. West will be made to understand that,” said Kay Harper Williams, another of Washington’s attorneys.\u003c/p>\n\u003ch3>Ye’s First Amendment rights will be a factor in this case, expert says\u003c/h3>\n\u003cp>On the matter of First Amendment rights, however, the family may have an uphill legal battle against Ye, said Roy S. Gutterman, the director of the Tully Center for Free Speech at the University of Syracuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“First off, there is no possibility of a defamation action here, because there would be no living plaintiff whose reputation has been damaged,” Gutterman told NPR. “Libel and slander require a live plaintiff, and family members or surviving family members do not have standing to sue for defamation.”\u003c/p>\n\u003cp>One possible path for this lawsuit, though, would be the the allegation of intentional infliction of emotional distress, Gutterman said — although it will be difficult to claim. “This requires the plaintiff to prove that the statements were intentional or reckless, outside the bounds of accepted decency and morality and causally-connected to some viable harm,” he said. “This tort is often a difficult claim to collect on, especially with a media defendant.”\u003c/p>\n\u003cp>However, proving this claim is not impossible; notably, Sandy Hook families successfully sued Alex Jones on this secondary tort in a recent civil trial in Connecticut.\u003c/p>\n\u003ch3>\u003cem>Drink Champs \u003c/em>has issued apologies for the episode\u003c/h3>\n\u003cp>Ye’s episode of \u003cem>Drink Champs\u003c/em> was pulled earlier this week.\u003c/p>\n\u003cp>“\u003cem>Drink Champs\u003c/em> prides itself on its ability to allow a free flow of ideas within the hip hop community,” a representative for the program told \u003ca href=\"https://www.hollywoodreporter.com/news/music-news/kanye-ye-west-george-floyd-drink-champs-podcast-pulled-1235242504/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hollywood Reporter\u003c/em>\u003c/a>\u003cem>.” \u003c/em>That being said, unfortunately, the recent interview with Kanye West contained false and hurtful information regarding the circumstances surrounding the murder of George Floyd.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity",
"headTitle": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity | KQED",
"content": "\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>[aside postID='arts_11514986']Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>[aside postID='arts_13863015']As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Art Laboe, the pioneering radio DJ who read heartfelt song dedications to generations of loyal listeners and was credited with helping end segregation in Southern California during an eight-decade broadcast career, has died. He was 97.\u003c/p>\n\u003cp>Laboe died Friday night at home in Palm Springs, California, after catching pneumonia, said Joanna Morones, a spokesperson for Laboe’s production company, Dart Entertainment.\u003c/p>\n\u003cp>His final show was produced last week and broadcast Sunday night.\u003c/p>\n\u003cp>Laboe is credited with helping end segregation in Southern California by organizing live DJ shows at drive-in eateries that attracted white, Black and Latino listeners who danced to rock ‘n’ roll — and shocked an older generation still listening to Frank Sinatra and Big Band music.\u003c/p>\n\u003cp>The DJ is also credited with coining the phrase “oldies but goodies.” In 1957, he started Original Sound Record, Inc. and in 1958, released the compilation album \u003cem>Oldies But Goodies: Vol. 1\u003c/em>, which stayed on the Billboard’s Top 100 chart for 183 weeks.\u003c/p>\n\u003cfigure id=\"attachment_13920273\" class=\"wp-caption aligncenter\" style=\"max-width: 449px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-74258282.jpg\" alt=\"\" width=\"449\" height=\"594\" class=\"size-full wp-image-13920273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-74258282.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-74258282-160x212.jpg 160w\" sizes=\"(max-width: 449px) 100vw, 449px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe and host of the television show ‘American Bandstand’ Dick Clark chat, circa 1960. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He later developed a strong following among Mexican Americans for hosting the syndicated \u003cem>The Art Laboe Connection Show\u003c/em>. His baritone voice invited listeners to call in dedications and request a ’50s-era rock ‘n’ roll love ballad or a rhythm and blues tune from Alicia Keys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His radio shows gave the families of incarcerated loved ones, in particular, a platform to speak to their relatives by dedicating songs and sending heartfelt messages and updates. California and Arizona inmates would send in their own dedications and ask Laboe for updates from family.\u003c/p>\n\u003cp>It’s a role Laboe said he felt honored to play.\u003c/p>\n\u003cp>“I don’t judge,” Laboe said in a 2018 interview with The Associated Press at his Palm Springs studio. “I like people.”\u003c/p>\n\u003cp>He often told a story about a woman who came by the studio so her toddler could tell her father, who was serving time for a violent crime, “Daddy, I love you.”\u003c/p>\n\u003cp>“It was the first time he had heard his baby’s voice,” Laboe said. “And this tough, hard-nosed guy burst into tears.”\u003c/p>\n\u003cp>Anthony Macias, a University of California, Riverside ethnic studies professor, said the music Laboe played went with the dedications, enhancing the messages. For example, songs like Little Anthony & the Imperials’ “I’m on the Outside (Looking In)” and War’s “Don’t Let No One Get You Down” spoke of perseverance and a desire to be accepted.\u003c/p>\n\u003cfigure id=\"attachment_13920275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/1000-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13920275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe in his studio on Oct. 9, 2018, in Palm Springs, Calif. \u003ccite>(AP Photo/Russell Contreras)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born Arthur Egnoian in Salt Lake City to an Armenian-American family, Laboe grew up during the Great Depression in a Mormon household run by a single mom. His sister sent him his first radio when he was 8 years old. The voices and stories that came from it enveloped him.\u003c/p>\n\u003cp>“And I haven’t let go since,” Laboe said.\u003c/p>\n\u003cp>He moved to California, attended Stanford University and served in the U.S. Navy during World War II. Eventually, he landed a job as a radio announcer at KSAN in San Francisco and adopted the name Art Laboe after a boss suggested he take the last name of a secretary to sound more American.\u003c/p>\n\u003cp>He later returned to the Southern California area, but a radio station owner told the aspiring announcer he should work on becoming a “radio personality” instead. As a DJ for KXLA in Los Angeles, Laboe bought station time and hosted live overnight music shows from drive-ins where he would meet underground rockabilly and R&B musicians. “I got my own built-in research,” Laboe said.\u003c/p>\n\u003cp>He soon became one of the first DJs to play R&B and rock ‘n’ roll in California. Teen listeners soon identified Laboe’s voice with the fledgling rock ‘n’ roll scene. By 1956, Laboe had an afternoon show and became the city’s top radio program. Cars jammed Sunset Boulevard where Laboe broadcast his show, and advertisers jumped to get a piece of the action.\u003c/p>\n\u003cp>When Elvis Presley came to Hollywood, Laboe was one of the few to get an interview with the new rockabilly star.\u003c/p>\n\u003cp>[aside postID='arts_13907004']The scene that Laboe helped cultivate in California became of the nation’s most diverse. Places such as the El Monte’s American Legion Stadium played much of the music Laboe aired on his radio show, giving birth to a new youth subculture.\u003c/p>\n\u003cp>Laboe maintained a strong following throughout the years and transformed into a promoter of aging rock ‘n’ roll acts who never faded from Mexican-American fans of oldies. A permanent display of Laboe’s contributions resides in the Rock and Roll Hall of Fame Museum in Cleveland.\u003c/p>\n\u003cp>In 2015, iHeartMedia’s KHHT-FM dropped Laboe’s syndicated oldies show after the station abruptly switched to a hip-hop format, sparking angry protests in Los Angeles. “Without Art Laboe, I’m So Lonely I Could Cry,” \u003ca href=\"https://www.zocalopublicsquare.org/2015/03/02/without-art-laboe-im-so-lonely-i-could-cry/ideas/nexus/\">wrote essayist\u003c/a> Adam Vine. Later that year, Laboe returned to the Los Angeles airwaves on another station.\u003c/p>\n\u003cp>Lalo Alcaraz, a syndicated cartoonist and television writer who grew up listening to Laboe in San Diego, said the DJ maintained a strong following among Mexican Americans for generations because he always played Latino, white and Black artists together on his shows. Laboe also didn’t appear to judge listeners who asked for dedications for loved ones in prison, Alcaraz said.\u003c/p>\n\u003cp>“Here is someone who gave a voice to the most humble of us all through music,” Alcaraz said. “He brought us together. That’s why we sought him out.”\u003c/p>\n\u003cp>Alex Nogales, president and CEO of the Los Angeles-based National Hispanic Media Coalition, said generations of Latino fans attended Laboe-sponsored concerts to hear the likes of Smokey Robinson, The Spinners or Sunny & The Sunliners.\u003c/p>\n\u003cp>“I see these really tough looking guys in the crowd. I mean, they look scary,” Nogales said. “Then Art comes out and they just melt. They love him.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Former Associated Press reporter Russell Contreras contributed biographical material to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art Laboe, the pioneering radio DJ who read heartfelt song dedications to generations of loyal listeners and was credited with helping end segregation in Southern California during an eight-decade broadcast career, has died. He was 97.\u003c/p>\n\u003cp>Laboe died Friday night at home in Palm Springs, California, after catching pneumonia, said Joanna Morones, a spokesperson for Laboe’s production company, Dart Entertainment.\u003c/p>\n\u003cp>His final show was produced last week and broadcast Sunday night.\u003c/p>\n\u003cp>Laboe is credited with helping end segregation in Southern California by organizing live DJ shows at drive-in eateries that attracted white, Black and Latino listeners who danced to rock ‘n’ roll — and shocked an older generation still listening to Frank Sinatra and Big Band music.\u003c/p>\n\u003cp>The DJ is also credited with coining the phrase “oldies but goodies.” In 1957, he started Original Sound Record, Inc. and in 1958, released the compilation album \u003cem>Oldies But Goodies: Vol. 1\u003c/em>, which stayed on the Billboard’s Top 100 chart for 183 weeks.\u003c/p>\n\u003cfigure id=\"attachment_13920273\" class=\"wp-caption aligncenter\" style=\"max-width: 449px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-74258282.jpg\" alt=\"\" width=\"449\" height=\"594\" class=\"size-full wp-image-13920273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-74258282.jpg 449w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-74258282-160x212.jpg 160w\" sizes=\"(max-width: 449px) 100vw, 449px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe and host of the television show ‘American Bandstand’ Dick Clark chat, circa 1960. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He later developed a strong following among Mexican Americans for hosting the syndicated \u003cem>The Art Laboe Connection Show\u003c/em>. His baritone voice invited listeners to call in dedications and request a ’50s-era rock ‘n’ roll love ballad or a rhythm and blues tune from Alicia Keys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His radio shows gave the families of incarcerated loved ones, in particular, a platform to speak to their relatives by dedicating songs and sending heartfelt messages and updates. California and Arizona inmates would send in their own dedications and ask Laboe for updates from family.\u003c/p>\n\u003cp>It’s a role Laboe said he felt honored to play.\u003c/p>\n\u003cp>“I don’t judge,” Laboe said in a 2018 interview with The Associated Press at his Palm Springs studio. “I like people.”\u003c/p>\n\u003cp>He often told a story about a woman who came by the studio so her toddler could tell her father, who was serving time for a violent crime, “Daddy, I love you.”\u003c/p>\n\u003cp>“It was the first time he had heard his baby’s voice,” Laboe said. “And this tough, hard-nosed guy burst into tears.”\u003c/p>\n\u003cp>Anthony Macias, a University of California, Riverside ethnic studies professor, said the music Laboe played went with the dedications, enhancing the messages. For example, songs like Little Anthony & the Imperials’ “I’m on the Outside (Looking In)” and War’s “Don’t Let No One Get You Down” spoke of perseverance and a desire to be accepted.\u003c/p>\n\u003cfigure id=\"attachment_13920275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/1000-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13920275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Laboe in his studio on Oct. 9, 2018, in Palm Springs, Calif. \u003ccite>(AP Photo/Russell Contreras)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born Arthur Egnoian in Salt Lake City to an Armenian-American family, Laboe grew up during the Great Depression in a Mormon household run by a single mom. His sister sent him his first radio when he was 8 years old. The voices and stories that came from it enveloped him.\u003c/p>\n\u003cp>“And I haven’t let go since,” Laboe said.\u003c/p>\n\u003cp>He moved to California, attended Stanford University and served in the U.S. Navy during World War II. Eventually, he landed a job as a radio announcer at KSAN in San Francisco and adopted the name Art Laboe after a boss suggested he take the last name of a secretary to sound more American.\u003c/p>\n\u003cp>He later returned to the Southern California area, but a radio station owner told the aspiring announcer he should work on becoming a “radio personality” instead. As a DJ for KXLA in Los Angeles, Laboe bought station time and hosted live overnight music shows from drive-ins where he would meet underground rockabilly and R&B musicians. “I got my own built-in research,” Laboe said.\u003c/p>\n\u003cp>He soon became one of the first DJs to play R&B and rock ‘n’ roll in California. Teen listeners soon identified Laboe’s voice with the fledgling rock ‘n’ roll scene. By 1956, Laboe had an afternoon show and became the city’s top radio program. Cars jammed Sunset Boulevard where Laboe broadcast his show, and advertisers jumped to get a piece of the action.\u003c/p>\n\u003cp>When Elvis Presley came to Hollywood, Laboe was one of the few to get an interview with the new rockabilly star.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The scene that Laboe helped cultivate in California became of the nation’s most diverse. Places such as the El Monte’s American Legion Stadium played much of the music Laboe aired on his radio show, giving birth to a new youth subculture.\u003c/p>\n\u003cp>Laboe maintained a strong following throughout the years and transformed into a promoter of aging rock ‘n’ roll acts who never faded from Mexican-American fans of oldies. A permanent display of Laboe’s contributions resides in the Rock and Roll Hall of Fame Museum in Cleveland.\u003c/p>\n\u003cp>In 2015, iHeartMedia’s KHHT-FM dropped Laboe’s syndicated oldies show after the station abruptly switched to a hip-hop format, sparking angry protests in Los Angeles. “Without Art Laboe, I’m So Lonely I Could Cry,” \u003ca href=\"https://www.zocalopublicsquare.org/2015/03/02/without-art-laboe-im-so-lonely-i-could-cry/ideas/nexus/\">wrote essayist\u003c/a> Adam Vine. Later that year, Laboe returned to the Los Angeles airwaves on another station.\u003c/p>\n\u003cp>Lalo Alcaraz, a syndicated cartoonist and television writer who grew up listening to Laboe in San Diego, said the DJ maintained a strong following among Mexican Americans for generations because he always played Latino, white and Black artists together on his shows. Laboe also didn’t appear to judge listeners who asked for dedications for loved ones in prison, Alcaraz said.\u003c/p>\n\u003cp>“Here is someone who gave a voice to the most humble of us all through music,” Alcaraz said. “He brought us together. That’s why we sought him out.”\u003c/p>\n\u003cp>Alex Nogales, president and CEO of the Los Angeles-based National Hispanic Media Coalition, said generations of Latino fans attended Laboe-sponsored concerts to hear the likes of Smokey Robinson, The Spinners or Sunny & The Sunliners.\u003c/p>\n\u003cp>“I see these really tough looking guys in the crowd. I mean, they look scary,” Nogales said. “Then Art comes out and they just melt. They love him.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Former Associated Press reporter Russell Contreras contributed biographical material to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘He Should Still Be Here’: Zumbi’s Loved Ones Demand Charges for Hospital Staff, Security | KQED",
"content": "\u003cp>In the last weeks of his life, Oakland hip-hop artist Stephen Gaines, better known as Zumbi of Zion I, had started a hopeful new chapter.\u003c/p>\n\u003cp>In July 2021, he headlined a concert in Nevada City where eager fans lined up for pictures and autographs. He’d come down with COVID-19 after the show, but with his partner of four years, Millaray Rodriguez Avila, he began recovering. The couple visited the beach and went on hikes, and Gaines regained his appetite, eating second helpings of vegan ramen.\u003c/p>\n\u003cp>Gaines laid plans to release new music and embark upon a Zion I reunion tour with his longtime musical collaborator, Amp Live. He and Rodriguez Avila prepared to sign a lease on a house in Oakland, where they planned to live with Gaines’ mother, his young three boys and Rodriguez Avila’s middle school-age son.\u003c/p>\n\u003cp>All of those plans ground to a halt on Aug. 13, 2021, when Gaines was killed during a stay at Alta Bates Medical Center in Berkeley. [aside postid='arts_13920004']\u003c/p>\n\u003cp>The day prior, Gaines had called 911 for help during an apparent mental health crisis and checked himself into Alta Bates. His family and their lawyers say he should have walked out of the hospital alive. Instead, they allege, hospital staff and Allied Universal security guards used excessive force and killed him. According to the coroner’s report, three men, including a patient transporter and a security guard, piled on top of Gaines, placing their weight on his arms, legs and upper torso. They held Gaines to the ground for approximately five to 10 minutes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The coroner determined that Gaines died by homicide, with the official cause of death as “physiologic stress of altercation and restraint during a psychotic episode,” and COVID-19 and an enlarged heart as contributing factors. Yet more than a year since Gaines’ death, Berkeley police have not announced any suspects nor made arrests. After initially stating that Gaines’ killing did not “appear criminal in nature,” the Alameda County District Attorney’s office reversed course on Oct. 5 and announced that, in light of new information, criminal charges could still be possible.\u003c/p>\n\u003cfigure id=\"attachment_13918678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for a tribute to the Zion I MC at the Hiero Day festival in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The restraints used by a combination of Allied Universal staff and Alta Bates staff [were] homicidal,” says Elizabeth Grossman, one of the attorneys representing Gaines’ mother Carolyn, Gaines’ three boys and Rodriguez Avila. Grossman says criminal charges are likely, and that she plans to file a civil lawsuit against Alta Bates hospital and Allied Universal.\u003c/p>\n\u003cp>“I think Ms. Gaines said it right when she was talking to Nancy O’Malley, the district attorney, the other day,” says Grossman. “She sadly recognized that she’s joined a terrible, small club of mothers whose sons have been murdered — not only sons, but children who have been murdered — and she called out George Floyd’s mother.”\u003c/p>\n\u003cp>Law enforcement’s lack of answers and long delays have frustrated those close to Gaines. Now, on what would have been Gaines’ 50th birthday, Oct. 9, loved ones who’d previously stayed silent as the investigation took its course are demanding answers and accountability.\u003c/p>\n\u003cp>“The only thing I want is charges for the people who are responsible for ending a beautiful life the way that they did,” says Rodriguez Avila.\u003c/p>\n\u003cfigure id=\"attachment_13920210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/millaray-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila holds a photo of Stephen Gaines, her partner of four years. Before he died under suspicious circumstances at Alta Bates hospital, the couple had plans to move in together with Gaines’ mother, his three boys and Rodriguez Avila’s son. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lawyers point to wrongful treatment on the hospital floor\u003c/h2>\n\u003cp>According to the coroner’s report, Gaines called 911 on Aug. 12, 2021, to seek help for suicidal ideation. He checked himself into the hospital, where he was placed on a 5150, the code for a 72-hour involuntary psychiatric hold. His toxicology screen was negative, and he was given anti-anxiety medication. Rodriguez Avila says she communicated with Gaines while he was in the hospital, and that he seemed optimistic about his recovery.\u003c/p>\n\u003cp>After sleeping through most of the night, the report says, Gaines awoke suddenly in his bed as attending nurses discussed ordering a CT scan. Witnesses said he chased nurses through the halls and put a pregnant security guard “in a choke hold.” After security and staff pulled Gaines from the guard, a patient transporter took Gaines to the floor, held him face down, and laid on top of him, straddling Gaines’ upper torso. A security guard later piled on top of the patient transporter, putting additional weight on Gaines’ torso, back, and left arm. A third person restrained Gaines’ legs and left elbow.\u003c/p>\n\u003cp>“It is unknown how much body weight was placed on Mr. Gaines,” the coroner’s report notes. Witnesses estimate Gaines was on the ground for “approximately 5-10 minutes.”\u003c/p>\n\u003cp>After a few minutes of struggle, according to the autopsy, the men on top of Gaines noticed blood coming from his mouth, and “could not tell if he was breathing.” When Berkeley police arrived, they attempted to handcuff Gaines while the three men stood up. Officers noticed that Gaines was unresponsive, rolled him on his back, and then put him in handcuffs before administering CPR. By then it was too late. Gaines was pronounced dead at 5:51 a.m. on Aug. 13.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Millaray Rodriguez Avila']‘I want the truth. What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?’[/pullquote]That morning, Rodriguez Avila got a call from the hospital director. The partner she had been building a life with was dead.\u003c/p>\n\u003cp>“I kind of collapsed,” she says now, over a year later. “I lost myself, where I was. I thought it was a movie.”\u003c/p>\n\u003cp>“I want the truth,” Rodriguez Avila continues. “What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?”\u003c/p>\n\u003cp>She and friends who knew Gaines for decades describe him as a kind, gentle soul — a loving parent, partner and friend. They remember him as a health-conscious meditation practitioner who aspired to be his best self and encouraged people to be kinder to each other. That message was audible in his music, which often dealt with themes of societal injustices.\u003c/p>\n\u003cp>“He taught me love,” says Rodriguez Avila. “In our relationship, the beautiful thing is that love, that passion that we had for each other, it was around us, too. It was with our kids. It was with our friends. Everywhere we [went], we projected and received back love.”\u003c/p>\n\u003cp>“I remember him as somebody who always spread love and spread light, and somebody who was an innovator, extremely creative, original,” says friend and fellow hip-hop artist Dustin Sharpe. “Almost like a God-sent prophet because he always spoke wisdom. He always looked at the positive side of things.”\u003c/p>\n\u003cp>The people close to Gaines say he didn’t have a history of mental illness. He dealt with normal life stressors from parenthood and his career as an artist.\u003c/p>\n\u003cp>“When I heard that he brought himself to the hospital, I knew that something was up, that he must have been going through something,” says longtime friend and musical collaborator The Grouch. “People can reach a point of struggle, and whatever happens in that hospital, the hospital is the professionals, and they should be trained to take care of the situation.”\u003c/p>\n\u003cp>Federal regulations outline safe techniques for restraining patients in hospitals. “They specifically call out in the federal regulations that there cannot be positional asphyxiation,” Grossman says. “Most importantly, the regulations require that medical aid be given while restraints are being applied. These regulations were written with a history of understanding that mental health situations often result in restraints being used, and trying to correct bad practices.”\u003c/p>\n\u003cp>“In this case, every bad practice happened,” Grossman continues. “For the five to 10 minutes that he was being restrained with three men lying on his back, there was not one ounce of medical care offered to save this man’s life. That is ugly beyond belief.”\u003c/p>\n\u003cp>[pullquote size='large' align='left' citation='Deuce Eclipse']‘The bottom line for me is he should still be here.’[/pullquote]\u003c/p>\n\u003cp>Friends of Gaines are frustrated law enforcement hasn’t named any suspects. “What are the names of these people who laid on him for five to 10 minutes thinking that was right, whether he was having an episode or not?” says Gina Madrid, a friend and fellow hip-hop artist. “Because you’re not going to kill our brother like that.”\u003c/p>\n\u003cp>“People have to be held accountable,” says hip-hop artist Deuce Eclipse, who had been close with Gaines since the two were in high school. “The bottom line for me is he should still be here. There’s no reason I can find in my mind, my heart, my spirit and my soul why he would be killed in the hospital.”\u003c/p>\n\u003cp>Berkeley police, Alta Bates or its security company, Allied Universal, did not respond to requests for comment as of press time.\u003c/p>\n\u003cfigure id=\"attachment_13920201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi (back right) backstage with his friend Deuce Eclipse (front right) in 2018. The two had been close since high school. \u003ccite>(Courtesy of Deuce Eclipse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Loved ones call for accountability for hospital security guards and staff\u003c/h2>\n\u003cp>In the eyes of his partner and friends, Gaines’ death is another example of authority figures treating the life of a Black person as disposable. For Rodriguez Avila, the loss was shocking, but it also felt disturbingly familiar.\u003c/p>\n\u003cp>“It’s happened before in this country. It’s happened in California. It’s happened in the Bay Area before,” she says. “And there’s so many families, mothers, brothers, sisters that are waiting for answers for other brown, Latino and Black people that have been killed by use of force.”\u003c/p>\n\u003cp>For others, what happened to Gaines is indicative of abuse and racism in the medical and criminal justice systems. “I think that there needs to be a magnifying glass put on the hospitals and how they function,” says The Grouch.\u003c/p>\n\u003cp>That includes the private security companies that hospitals hire. Allied Universal is a multi-billion-dollar global conglomerate that operates in 90 countries and employs 800,000. Liv Styler, a friend of Gaines and an independent journalist, points out that \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">security guards receive significantly less use-of-force training than police officers\u003c/a>. Unlike police, security guards have no public oversight. They aren’t compelled to disclose information by public records laws, which makes it possible to hide misconduct. (\u003ca href=\"https://www.capradio.org/articles/2020/07/10/california-has-no-clear-use-of-force-standard-for-security-guards-regulators-say-that-leaves-their-hands-tied/\" target=\"_blank\" rel=\"noopener noreferrer\">Another death at the hands of Allied Universal security guards\u003c/a> in 2019 prompted a new California law that will \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">create use-of-force standards\u003c/a> for the industry in 2023.)\u003c/p>\n\u003cp>[aside postID='news_11907746']“We need the same type of pressure that happened with police officers to happen with private security,” Styler says. “I think the fact that no one even really considers it an issue is huge.”\u003c/p>\n\u003cp>The investigation into Gaines’ death lasted for over a year, the Alameda County Coroner’s Bureau has said, because of delays in obtaining the toxicology report. Meanwhile, the delay in the district attorney’s decision on whether or not to file charges is “becoming detrimental to the case, and also just to the emotions and the sentiment of those who are close to him as we try to process this,” says musician and longtime friend Kev Choice.\u003c/p>\n\u003cp>Now, Gaines’ friends and family fear there could be further obstacles. O’Malley, the Alameda County District Attorney, will retire when her term ends at the beginning of 2023. A spokesperson for the D.A. told KQED on Oct. 7 that there is currently no timeline for a decision in Gaines’ case.\u003c/p>\n\u003cp>“It’s been 14 months,” says Rodriguez Avila. “What is gonna happen to the review of the case she says that she’s doing? I want to know the result of the review … I want her to [file] charges before she leaves office, before the elections in November next month.”\u003c/p>\n\u003cp>“I’m learning for the first time how to go day-by-day without my love. Without the person that was helping to raise my boy, too,” Rodriguez Avila adds. “That’s why I’m screaming for justice.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter 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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the last weeks of his life, Oakland hip-hop artist Stephen Gaines, better known as Zumbi of Zion I, had started a hopeful new chapter.\u003c/p>\n\u003cp>In July 2021, he headlined a concert in Nevada City where eager fans lined up for pictures and autographs. He’d come down with COVID-19 after the show, but with his partner of four years, Millaray Rodriguez Avila, he began recovering. The couple visited the beach and went on hikes, and Gaines regained his appetite, eating second helpings of vegan ramen.\u003c/p>\n\u003cp>Gaines laid plans to release new music and embark upon a Zion I reunion tour with his longtime musical collaborator, Amp Live. He and Rodriguez Avila prepared to sign a lease on a house in Oakland, where they planned to live with Gaines’ mother, his young three boys and Rodriguez Avila’s middle school-age son.\u003c/p>\n\u003cp>All of those plans ground to a halt on Aug. 13, 2021, when Gaines was killed during a stay at Alta Bates Medical Center in Berkeley. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The day prior, Gaines had called 911 for help during an apparent mental health crisis and checked himself into Alta Bates. His family and their lawyers say he should have walked out of the hospital alive. Instead, they allege, hospital staff and Allied Universal security guards used excessive force and killed him. According to the coroner’s report, three men, including a patient transporter and a security guard, piled on top of Gaines, placing their weight on his arms, legs and upper torso. They held Gaines to the ground for approximately five to 10 minutes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The coroner determined that Gaines died by homicide, with the official cause of death as “physiologic stress of altercation and restraint during a psychotic episode,” and COVID-19 and an enlarged heart as contributing factors. Yet more than a year since Gaines’ death, Berkeley police have not announced any suspects nor made arrests. After initially stating that Gaines’ killing did not “appear criminal in nature,” the Alameda County District Attorney’s office reversed course on Oct. 5 and announced that, in light of new information, criminal charges could still be possible.\u003c/p>\n\u003cfigure id=\"attachment_13918678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918678\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Baba-Zumbi%E2%80%99s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Baba-Zumbi’s-Family-on-the-main-stage-at-Hiero-Day-in-Oakland-on-Monday-Sept.-6-2022.-002-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi’s family joins the main stage for a tribute to the Zion I MC at the Hiero Day festival in Oakland on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The restraints used by a combination of Allied Universal staff and Alta Bates staff [were] homicidal,” says Elizabeth Grossman, one of the attorneys representing Gaines’ mother Carolyn, Gaines’ three boys and Rodriguez Avila. Grossman says criminal charges are likely, and that she plans to file a civil lawsuit against Alta Bates hospital and Allied Universal.\u003c/p>\n\u003cp>“I think Ms. Gaines said it right when she was talking to Nancy O’Malley, the district attorney, the other day,” says Grossman. “She sadly recognized that she’s joined a terrible, small club of mothers whose sons have been murdered — not only sons, but children who have been murdered — and she called out George Floyd’s mother.”\u003c/p>\n\u003cp>Law enforcement’s lack of answers and long delays have frustrated those close to Gaines. Now, on what would have been Gaines’ 50th birthday, Oct. 9, loved ones who’d previously stayed silent as the investigation took its course are demanding answers and accountability.\u003c/p>\n\u003cp>“The only thing I want is charges for the people who are responsible for ending a beautiful life the way that they did,” says Rodriguez Avila.\u003c/p>\n\u003cfigure id=\"attachment_13920210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920210\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/millaray-800x591.jpg\" alt=\"\" width=\"800\" height=\"591\">\u003cfigcaption class=\"wp-caption-text\">Millaray Rodriguez Avila holds a photo of Stephen Gaines, her partner of four years. Before he died under suspicious circumstances at Alta Bates hospital, the couple had plans to move in together with Gaines’ mother, his three boys and Rodriguez Avila’s son. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lawyers point to wrongful treatment on the hospital floor\u003c/h2>\n\u003cp>According to the coroner’s report, Gaines called 911 on Aug. 12, 2021, to seek help for suicidal ideation. He checked himself into the hospital, where he was placed on a 5150, the code for a 72-hour involuntary psychiatric hold. His toxicology screen was negative, and he was given anti-anxiety medication. Rodriguez Avila says she communicated with Gaines while he was in the hospital, and that he seemed optimistic about his recovery.\u003c/p>\n\u003cp>After sleeping through most of the night, the report says, Gaines awoke suddenly in his bed as attending nurses discussed ordering a CT scan. Witnesses said he chased nurses through the halls and put a pregnant security guard “in a choke hold.” After security and staff pulled Gaines from the guard, a patient transporter took Gaines to the floor, held him face down, and laid on top of him, straddling Gaines’ upper torso. A security guard later piled on top of the patient transporter, putting additional weight on Gaines’ torso, back, and left arm. A third person restrained Gaines’ legs and left elbow.\u003c/p>\n\u003cp>“It is unknown how much body weight was placed on Mr. Gaines,” the coroner’s report notes. Witnesses estimate Gaines was on the ground for “approximately 5-10 minutes.”\u003c/p>\n\u003cp>After a few minutes of struggle, according to the autopsy, the men on top of Gaines noticed blood coming from his mouth, and “could not tell if he was breathing.” When Berkeley police arrived, they attempted to handcuff Gaines while the three men stood up. Officers noticed that Gaines was unresponsive, rolled him on his back, and then put him in handcuffs before administering CPR. By then it was too late. Gaines was pronounced dead at 5:51 a.m. on Aug. 13.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That morning, Rodriguez Avila got a call from the hospital director. The partner she had been building a life with was dead.\u003c/p>\n\u003cp>“I kind of collapsed,” she says now, over a year later. “I lost myself, where I was. I thought it was a movie.”\u003c/p>\n\u003cp>“I want the truth,” Rodriguez Avila continues. “What happened that day? How did security and hospital staff end [the life of] a person who was so beautiful?”\u003c/p>\n\u003cp>She and friends who knew Gaines for decades describe him as a kind, gentle soul — a loving parent, partner and friend. They remember him as a health-conscious meditation practitioner who aspired to be his best self and encouraged people to be kinder to each other. That message was audible in his music, which often dealt with themes of societal injustices.\u003c/p>\n\u003cp>“He taught me love,” says Rodriguez Avila. “In our relationship, the beautiful thing is that love, that passion that we had for each other, it was around us, too. It was with our kids. It was with our friends. Everywhere we [went], we projected and received back love.”\u003c/p>\n\u003cp>“I remember him as somebody who always spread love and spread light, and somebody who was an innovator, extremely creative, original,” says friend and fellow hip-hop artist Dustin Sharpe. “Almost like a God-sent prophet because he always spoke wisdom. He always looked at the positive side of things.”\u003c/p>\n\u003cp>The people close to Gaines say he didn’t have a history of mental illness. He dealt with normal life stressors from parenthood and his career as an artist.\u003c/p>\n\u003cp>“When I heard that he brought himself to the hospital, I knew that something was up, that he must have been going through something,” says longtime friend and musical collaborator The Grouch. “People can reach a point of struggle, and whatever happens in that hospital, the hospital is the professionals, and they should be trained to take care of the situation.”\u003c/p>\n\u003cp>Federal regulations outline safe techniques for restraining patients in hospitals. “They specifically call out in the federal regulations that there cannot be positional asphyxiation,” Grossman says. “Most importantly, the regulations require that medical aid be given while restraints are being applied. These regulations were written with a history of understanding that mental health situations often result in restraints being used, and trying to correct bad practices.”\u003c/p>\n\u003cp>“In this case, every bad practice happened,” Grossman continues. “For the five to 10 minutes that he was being restrained with three men lying on his back, there was not one ounce of medical care offered to save this man’s life. That is ugly beyond belief.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Friends of Gaines are frustrated law enforcement hasn’t named any suspects. “What are the names of these people who laid on him for five to 10 minutes thinking that was right, whether he was having an episode or not?” says Gina Madrid, a friend and fellow hip-hop artist. “Because you’re not going to kill our brother like that.”\u003c/p>\n\u003cp>“People have to be held accountable,” says hip-hop artist Deuce Eclipse, who had been close with Gaines since the two were in high school. “The bottom line for me is he should still be here. There’s no reason I can find in my mind, my heart, my spirit and my soul why he would be killed in the hospital.”\u003c/p>\n\u003cp>Berkeley police, Alta Bates or its security company, Allied Universal, did not respond to requests for comment as of press time.\u003c/p>\n\u003cfigure id=\"attachment_13920201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/DSC01278_FreeReinTour_2018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zumbi (back right) backstage with his friend Deuce Eclipse (front right) in 2018. The two had been close since high school. \u003ccite>(Courtesy of Deuce Eclipse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Loved ones call for accountability for hospital security guards and staff\u003c/h2>\n\u003cp>In the eyes of his partner and friends, Gaines’ death is another example of authority figures treating the life of a Black person as disposable. For Rodriguez Avila, the loss was shocking, but it also felt disturbingly familiar.\u003c/p>\n\u003cp>“It’s happened before in this country. It’s happened in California. It’s happened in the Bay Area before,” she says. “And there’s so many families, mothers, brothers, sisters that are waiting for answers for other brown, Latino and Black people that have been killed by use of force.”\u003c/p>\n\u003cp>For others, what happened to Gaines is indicative of abuse and racism in the medical and criminal justice systems. “I think that there needs to be a magnifying glass put on the hospitals and how they function,” says The Grouch.\u003c/p>\n\u003cp>That includes the private security companies that hospitals hire. Allied Universal is a multi-billion-dollar global conglomerate that operates in 90 countries and employs 800,000. Liv Styler, a friend of Gaines and an independent journalist, points out that \u003ca href=\"https://livmuthafknstyler.medium.com/misuse-of-force-is-an-under-reported-epidemic-in-private-security-and-may-have-played-a-role-in-the-646f2627375\" target=\"_blank\" rel=\"noopener noreferrer\">security guards receive significantly less use-of-force training than police officers\u003c/a>. Unlike police, security guards have no public oversight. They aren’t compelled to disclose information by public records laws, which makes it possible to hide misconduct. (\u003ca href=\"https://www.capradio.org/articles/2020/07/10/california-has-no-clear-use-of-force-standard-for-security-guards-regulators-say-that-leaves-their-hands-tied/\" target=\"_blank\" rel=\"noopener noreferrer\">Another death at the hands of Allied Universal security guards\u003c/a> in 2019 prompted a new California law that will \u003ca href=\"https://www.capradio.org/articles/2021/10/28/new-california-law-requires-use-of-force-training-for-security-guards-prompted-by-capradio-investigation/\" target=\"_blank\" rel=\"noopener noreferrer\">create use-of-force standards\u003c/a> for the industry in 2023.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We need the same type of pressure that happened with police officers to happen with private security,” Styler says. “I think the fact that no one even really considers it an issue is huge.”\u003c/p>\n\u003cp>The investigation into Gaines’ death lasted for over a year, the Alameda County Coroner’s Bureau has said, because of delays in obtaining the toxicology report. Meanwhile, the delay in the district attorney’s decision on whether or not to file charges is “becoming detrimental to the case, and also just to the emotions and the sentiment of those who are close to him as we try to process this,” says musician and longtime friend Kev Choice.\u003c/p>\n\u003cp>Now, Gaines’ friends and family fear there could be further obstacles. O’Malley, the Alameda County District Attorney, will retire when her term ends at the beginning of 2023. A spokesperson for the D.A. told KQED on Oct. 7 that there is currently no timeline for a decision in Gaines’ case.\u003c/p>\n\u003cp>“It’s been 14 months,” says Rodriguez Avila. “What is gonna happen to the review of the case she says that she’s doing? I want to know the result of the review … I want her to [file] charges before she leaves office, before the elections in November next month.”\u003c/p>\n\u003cp>“I’m learning for the first time how to go day-by-day without my love. Without the person that was helping to raise my boy, too,” Rodriguez Avila adds. “That’s why I’m screaming for justice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>East Bay photographer\u003ca href=\"https://www.instagram.com/iamsydneywelch/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sydney Welch \u003c/a>has compiled a collection of photos that serve as a highlight reel for the latest wave of talented hip-hop and R&B artists emerging from the Bay Area, including Stunnaman02, LaRussell, Kehlani, P-Lo, Su’Lan, Larry June, and Rexx Life Raj.\u003c/p>\n\u003cp>And that doesn’t even scratch the surface of her portfolio. Her collection is like a stack of baseball cards, full of rare rookies.\u003c/p>\n\u003cp>\u003ca href=\"https://shotsbysydney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Her images\u003c/a> are captured at concerts, showing artists rocking the crowd or having an intimate moment backstage. She has Polaroid photos taken at parties and magazine-style portraits shot on film.\u003c/p>\n\u003cp>Most importantly: Sydney’s images aren’t taken from an outsider perspective. Before becoming a professional photographer, Sydney was a regular at local Bay Area hip-hop and R&B shows, supporting talent on the rise.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcTciaovReR/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>Sydney grew up in Fremont and after studying journalism in high school and at San Francisco State University, Sydney is now behind the camera at concerts and community gatherings. She’s often seen with multiple cameras strapped to her person, in full shooter mode.\u003c/p>\n\u003cp>This week Sydney Welch tells us about her ultimate professional goals, how she relies on grace to navigate the notoriously treacherous music industry, and why she’s so passionate about representing the Bay through photos of the artists who are currently providing the soundtrack of our time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8682552209&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the podcast \u003ca href=\"https://drive.google.com/file/d/106v47Lh3QrtzMyu7DpLCpiMuiyeS2I5Z/view?usp=sharing\">transcript\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Welch.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Back in May of this year, I bumped into Sydney at an event thrown by Oakland based non-profit Urban Peace Movement. \u003c/em>\u003cem>In the crowd of a couple hundred people gathered around Lake Merritt’s bandstand, there was Sydney: moving through the crowd, with three cameras strapped to her person. I had my handy-dandy digital camera on me. But Sydney? She was in full-blown shooter mode.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: Film has always been my favorite form of photography. \u003c/span>\u003cspan style=\"font-weight: 400\">It just gives like that historic, like that dope vibe. \u003c/span>\u003cspan style=\"font-weight: 400\">When I was in high school, I literally shot with the film camera before I shot with a digital camera. So I was in a dark room with my teachers at lunch time. Growing up my mom was a photographer as well.\u003c/span> \u003cspan style=\"font-weight: 400\">She did film photography on the side, she always had her camera on her. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: In her junior year of high school, Sydney landed an internship with the San Jose Mercury News as a writer and photographer. It was her formal introduction to the industry.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: But also during that time in high school, I was really in music a lot. Like I was listening to HBK a lot. Kehlani, G-Eazy, literally every Bay Area artist. And so that really gave me a big, sort of inspiration, I feel like, to where I am today. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg\" alt=\"Photographer Sydney Welch in action.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044.jpeg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sydney Welch in action. \u003ccite>(Joshua Lee Kennedy/@Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: There’s a big variable behind this, it’s you and your identity as a Black woman. What does that bring to the table? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: That really just brings my voice, you know, not being afraid to really express who I am through my work, but to also, you know, inspire another Black person like myself to get out of their comfort zone and to try something new, no matter how scary it may seem or how intimidating it may seem. \u003c/span>\u003cspan style=\"font-weight: 400\">Sometimes with like, you know, people’s intentions and stuff like that, you have to be on your guard more than ever, especially being a Black woman. Like people will try you. They will try you, especially if you’re good looking as well. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s like, ‘I’m here to work. If you can’t respect me working, then I’m not working with you ever again.’ Like, it’s, it’s that serious. \u003c/span>\u003cspan style=\"font-weight: 400\"> I will just never, you know, dim myself and disrespect myself to make somebody else comfortable.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What story do your photos tell? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sydney:\u003c/em> My photos tell history. They tell passion. They tell art. Some may tell struggle, but you may not see that in your perspective. But also, just like they show love too, you know, I hope my photos tell the love that I have for the Bay Area.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>East Bay photographer\u003ca href=\"https://www.instagram.com/iamsydneywelch/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sydney Welch \u003c/a>has compiled a collection of photos that serve as a highlight reel for the latest wave of talented hip-hop and R&B artists emerging from the Bay Area, including Stunnaman02, LaRussell, Kehlani, P-Lo, Su’Lan, Larry June, and Rexx Life Raj.\u003c/p>\n\u003cp>And that doesn’t even scratch the surface of her portfolio. Her collection is like a stack of baseball cards, full of rare rookies.\u003c/p>\n\u003cp>\u003ca href=\"https://shotsbysydney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Her images\u003c/a> are captured at concerts, showing artists rocking the crowd or having an intimate moment backstage. She has Polaroid photos taken at parties and magazine-style portraits shot on film.\u003c/p>\n\u003cp>Most importantly: Sydney’s images aren’t taken from an outsider perspective. Before becoming a professional photographer, Sydney was a regular at local Bay Area hip-hop and R&B shows, supporting talent on the rise.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney grew up in Fremont and after studying journalism in high school and at San Francisco State University, Sydney is now behind the camera at concerts and community gatherings. She’s often seen with multiple cameras strapped to her person, in full shooter mode.\u003c/p>\n\u003cp>This week Sydney Welch tells us about her ultimate professional goals, how she relies on grace to navigate the notoriously treacherous music industry, and why she’s so passionate about representing the Bay through photos of the artists who are currently providing the soundtrack of our time.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8682552209&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Read the podcast \u003ca href=\"https://drive.google.com/file/d/106v47Lh3QrtzMyu7DpLCpiMuiyeS2I5Z/view?usp=sharing\">transcript\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Welch.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Back in May of this year, I bumped into Sydney at an event thrown by Oakland based non-profit Urban Peace Movement. \u003c/em>\u003cem>In the crowd of a couple hundred people gathered around Lake Merritt’s bandstand, there was Sydney: moving through the crowd, with three cameras strapped to her person. I had my handy-dandy digital camera on me. But Sydney? She was in full-blown shooter mode.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: Film has always been my favorite form of photography. \u003c/span>\u003cspan style=\"font-weight: 400\">It just gives like that historic, like that dope vibe. \u003c/span>\u003cspan style=\"font-weight: 400\">When I was in high school, I literally shot with the film camera before I shot with a digital camera. So I was in a dark room with my teachers at lunch time. Growing up my mom was a photographer as well.\u003c/span> \u003cspan style=\"font-weight: 400\">She did film photography on the side, she always had her camera on her. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: In her junior year of high school, Sydney landed an internship with the San Jose Mercury News as a writer and photographer. It was her formal introduction to the industry.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: But also during that time in high school, I was really in music a lot. Like I was listening to HBK a lot. Kehlani, G-Eazy, literally every Bay Area artist. And so that really gave me a big, sort of inspiration, I feel like, to where I am today. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13920096\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920096\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg\" alt=\"Photographer Sydney Welch in action.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-800x535.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-1020x682.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044-768x513.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/IMG_5044.jpeg 1284w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Sydney Welch in action. \u003ccite>(Joshua Lee Kennedy/@Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: There’s a big variable behind this, it’s you and your identity as a Black woman. What does that bring to the table? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sydney: That really just brings my voice, you know, not being afraid to really express who I am through my work, but to also, you know, inspire another Black person like myself to get out of their comfort zone and to try something new, no matter how scary it may seem or how intimidating it may seem. \u003c/span>\u003cspan style=\"font-weight: 400\">Sometimes with like, you know, people’s intentions and stuff like that, you have to be on your guard more than ever, especially being a Black woman. Like people will try you. They will try you, especially if you’re good looking as well. \u003c/span>\u003cspan style=\"font-weight: 400\">And it’s like, ‘I’m here to work. If you can’t respect me working, then I’m not working with you ever again.’ Like, it’s, it’s that serious. \u003c/span>\u003cspan style=\"font-weight: 400\"> I will just never, you know, dim myself and disrespect myself to make somebody else comfortable.\u003c/span>\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What story do your photos tell? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>Sydney:\u003c/em> My photos tell history. They tell passion. They tell art. Some may tell struggle, but you may not see that in your perspective. But also, just like they show love too, you know, I hope my photos tell the love that I have for the Bay Area.\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Loretta Lynn, Country Music Icon, Has Died at 90",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16152990/loretta-lynn\">Loretta Lynn\u003c/a>, the country music icon who brought unparalleled candor about the domestic realities of working-class women to country songwriting — and taught those who came after her to speak their minds, too – died today at her home in Tennessee. She was 90 years old.\u003c/p>\n\u003cp>“Our precious mom, Loretta Lynn, passed away peacefully this morning, in her sleep at home at her beloved ranch in Hurricane Mills,” her family said in a statement. \u003c/p>\n\u003cp>“The story of Loretta Lynn’s life is unlike any other, yet she drew from that story a body of work that resonates with people who might never fully understand her bleak and remote childhood, her hardscrabble early days, or her adventures as a famous and beloved celebrity,” Kyle Young, CEO of the Country Music Hall of Fame and Museum, said in a statement. “In a music business that is often concerned with aspiration and fantasy, Loretta insisted on sharing her own brash and brave truth.”\u003c/p>\n\u003cp>Born Loretta Webb, the singer was raised in a remote coal mining community in the Appalachian Mountains of eastern Kentucky. One of the biggest songs of her career, “Coal Miner’s Daughter,” proudly recounted her background.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f9eHp7JJgq8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lynn was barely a teenager when she started a family of her own with a 21-year-old former soldier, Oliver Lynn, better known as “Mooney” or “Doolittle.” They wasted no time having the first four of their six children, and migrated to Washington state. It was there that her husband heard her bedtime lullabies and pushed her to start performing publicly. In a 2010 interview with \u003cem>Fresh Air\u003c/em>, she insisted she wouldn’t have done it otherwise: “I wouldn’t get out in front of people. I was really bashful and I would have never sang in front of anybody.”\u003c/p>\n\u003cp>Once her husband started scrounging up paying gigs for her, Lynn taught herself to write songs, says country music historian and journalist Robert Oermann.\u003c/p>\n\u003cp>“She got a copy of \u003cem>Country Song Roundup\u003c/em>,” Oermann says – a magazine that printed country lyrics and stories about the musicians. “She would read the country lyrics in the magazine, and she’d go, ‘Well that’s nothing. I can do that.’ And she could, and had been.”\u003c/p>\n\u003cp>Lynn and her husband drove around to radio stations, where she would introduce herself to the DJs and try to charm them into spinning her record. These efforts had begun to get Lynn noticed when the couple landed in Nashville in 1960. Artists like Jim Reeves and \u003ca href=\"https://www.npr.org/artists/15396529/patsy-cline\">Patsy Cline\u003c/a> — who became Lynn’s mentor — were having a lot of success with a lush, pop-sweetened production style known as the Nashville Sound. Lynn worked with Cline’s producer, Owen Bradley, but hung onto her unsoftened twang.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E2pd1l0i0A8\u003c/p>\n\u003cp>Country songs had often portrayed hardship from male perspectives, but Lynn wasn’t afraid to spell out the indignities endured in her marriage, or the double standards she saw other women facing when it came to divorce, pregnancy and birth control. She found that Nashville wasn’t accustomed to that kind of frankness.\u003c/p>\n\u003cp>Fellow eastern Kentucky songwriter \u003ca href=\"https://www.npr.org/artists/652196097/angaleena-presley\">Angaleena Presley\u003c/a> was raised on her mother’s Loretta Lynn records, and recognizes what they must have meant to women of earlier generations.\u003c/p>\n\u003cp>“I’m positive that there probably were many, many women in that time, especially in the country,” she says, “who thought, ‘I’m not really allowed to say anything if my husband wants to drink. He works all day. He deserves to drink at night and come home and do what he wants. And I’ll clean the house and raise the kids.’ And [Lynn] said, ‘Nope. It’s not OK, and it’s OK for you to say it’s not OK.'”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OBnkAkmLtaw\u003c/p>\n\u003cp>Presley says Lynn’s perspective “contributed a lot to the feminist movement,” especially in rural parts of the country. “I feel like she was the voice,” Presley says, “even if she never spoke out actively as a feminist, her songs certainly did.”\u003c/p>\n\u003cp>No less than 51 of those songs \u003ca href=\"https://www.billboard.com/artist/loretta-lynn/\">became\u003c/a> top 10 country hits on the Billboard charts. In 1972, Lynn was the first woman named Entertainer of the Year by the Country Music Association. She would later be inducted into the Country Music Hall of Fame, in 1988, and the Songwriters Hall of Fame in 2008. She was also recognized with Kennedy Center Honors in 2003 and the Presidential Medal of Freedom in 2013.\u003c/p>\n\u003cp>Though their relationship was complicated, Lynn and Doolittle remained married up until his death in 1996. (Lynn also made sure fans knew that her long-lasting musical partnership with Conway Twitty was all business.) Lynn continued performing and recording into the new millennium, attracting younger audiences through her collaboration with \u003ca href=\"https://www.npr.org/artists/17089122/jack-white\">Jack White\u003c/a>.\u003c/p>\n\u003cp>But it was essential to Lynn’s enduring appeal that she never lost touch with her identity as a simultaneously modern and down-to-earth country woman who could communicate that to crowds throughout her career.\u003c/p>\n\u003cp>“This idea that I might be up here on stage singing this song, but I’m not better than you. I \u003cem>am\u003c/em> you,” journalist Oermann says. “That’s kind of the message. That kind of humility is a really powerful and good thing.”\u003c/p>\n\u003cp>That approach always informed her songwriting; Lynn’s gutsiness comes through just as clearly today in the music she left behind. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like real life, because that’s what we’re doing today,” Lynn \u003ca href=\"https://www.npr.org/2004/05/03/1848263/loretta-lynns-van-lear-rose-with-jack-white\">told \u003cem>All Things Considered\u003c/em>\u003c/a> in 2004. “And I think that’s why people bought my records, because they’re living in this world. And so am I. So I see what’s going on, and I grab it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Loretta+Lynn%2C+country+music+icon%2C+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lynn was barely a teenager when she started a family of her own with a 21-year-old former soldier, Oliver Lynn, better known as “Mooney” or “Doolittle.” They wasted no time having the first four of their six children, and migrated to Washington state. It was there that her husband heard her bedtime lullabies and pushed her to start performing publicly. In a 2010 interview with \u003cem>Fresh Air\u003c/em>, she insisted she wouldn’t have done it otherwise: “I wouldn’t get out in front of people. I was really bashful and I would have never sang in front of anybody.”\u003c/p>\n\u003cp>Once her husband started scrounging up paying gigs for her, Lynn taught herself to write songs, says country music historian and journalist Robert Oermann.\u003c/p>\n\u003cp>“She got a copy of \u003cem>Country Song Roundup\u003c/em>,” Oermann says – a magazine that printed country lyrics and stories about the musicians. “She would read the country lyrics in the magazine, and she’d go, ‘Well that’s nothing. I can do that.’ And she could, and had been.”\u003c/p>\n\u003cp>Lynn and her husband drove around to radio stations, where she would introduce herself to the DJs and try to charm them into spinning her record. These efforts had begun to get Lynn noticed when the couple landed in Nashville in 1960. Artists like Jim Reeves and \u003ca href=\"https://www.npr.org/artists/15396529/patsy-cline\">Patsy Cline\u003c/a> — who became Lynn’s mentor — were having a lot of success with a lush, pop-sweetened production style known as the Nashville Sound. Lynn worked with Cline’s producer, Owen Bradley, but hung onto her unsoftened twang.\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/E2pd1l0i0A8'\n title='//www.youtube.com/embed/E2pd1l0i0A8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Country songs had often portrayed hardship from male perspectives, but Lynn wasn’t afraid to spell out the indignities endured in her marriage, or the double standards she saw other women facing when it came to divorce, pregnancy and birth control. She found that Nashville wasn’t accustomed to that kind of frankness.\u003c/p>\n\u003cp>Fellow eastern Kentucky songwriter \u003ca href=\"https://www.npr.org/artists/652196097/angaleena-presley\">Angaleena Presley\u003c/a> was raised on her mother’s Loretta Lynn records, and recognizes what they must have meant to women of earlier generations.\u003c/p>\n\u003cp>“I’m positive that there probably were many, many women in that time, especially in the country,” she says, “who thought, ‘I’m not really allowed to say anything if my husband wants to drink. He works all day. He deserves to drink at night and come home and do what he wants. And I’ll clean the house and raise the kids.’ And [Lynn] said, ‘Nope. It’s not OK, and it’s OK for you to say it’s not OK.'”\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/OBnkAkmLtaw'\n title='//www.youtube.com/embed/OBnkAkmLtaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Presley says Lynn’s perspective “contributed a lot to the feminist movement,” especially in rural parts of the country. “I feel like she was the voice,” Presley says, “even if she never spoke out actively as a feminist, her songs certainly did.”\u003c/p>\n\u003cp>No less than 51 of those songs \u003ca href=\"https://www.billboard.com/artist/loretta-lynn/\">became\u003c/a> top 10 country hits on the Billboard charts. In 1972, Lynn was the first woman named Entertainer of the Year by the Country Music Association. She would later be inducted into the Country Music Hall of Fame, in 1988, and the Songwriters Hall of Fame in 2008. She was also recognized with Kennedy Center Honors in 2003 and the Presidential Medal of Freedom in 2013.\u003c/p>\n\u003cp>Though their relationship was complicated, Lynn and Doolittle remained married up until his death in 1996. (Lynn also made sure fans knew that her long-lasting musical partnership with Conway Twitty was all business.) Lynn continued performing and recording into the new millennium, attracting younger audiences through her collaboration with \u003ca href=\"https://www.npr.org/artists/17089122/jack-white\">Jack White\u003c/a>.\u003c/p>\n\u003cp>But it was essential to Lynn’s enduring appeal that she never lost touch with her identity as a simultaneously modern and down-to-earth country woman who could communicate that to crowds throughout her career.\u003c/p>\n\u003cp>“This idea that I might be up here on stage singing this song, but I’m not better than you. I \u003cem>am\u003c/em> you,” journalist Oermann says. “That’s kind of the message. That kind of humility is a really powerful and good thing.”\u003c/p>\n\u003cp>That approach always informed her songwriting; Lynn’s gutsiness comes through just as clearly today in the music she left behind. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like real life, because that’s what we’re doing today,” Lynn \u003ca href=\"https://www.npr.org/2004/05/03/1848263/loretta-lynns-van-lear-rose-with-jack-white\">told \u003cem>All Things Considered\u003c/em>\u003c/a> in 2004. “And I think that’s why people bought my records, because they’re living in this world. And so am I. So I see what’s going on, and I grab it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Loretta+Lynn%2C+country+music+icon%2C+has+died+at+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Where are the Black Musicians in the Country's Largest Orchestras?",
"headTitle": "Where are the Black Musicians in the Country’s Largest Orchestras? | KQED",
"content": "\u003cp>In 2014, the League of American Orchestras, a service organization representing professional and amateur symphony orchestras around the United States, \u003ca href=\"https://americanorchestras.org/racial-ethnic-and-gender-diversity-in-the-orchestra-field/\" target=\"_blank\" rel=\"noopener noreferrer\">published a study on diversity\u003c/a> and found that only 1.4% of orchestra musicians were Black.\u003c/p>\n\u003cp>In 2022, it’s hard to say if that figure has gotten better or worse, said Jennifer Arnold, a co-founder of the Black Orchestral Network. Arnold spent 15 seasons playing viola with the Oregon Symphony and now is director of artistic planning and operations for the Richmond Symphony.\u003c/p>\n\u003cfigure id=\"attachment_13919822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg\" alt=\"A Black woman wearing pink lipstick and floral blouse smiles for the camera.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Arnold of the Black Orchestral Network is calling for more data—so they can figure out how many musicians in orchestras are Black. \u003ccite>(Jennifer Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a real need to actually be transparent about what’s happening in the industry, in terms of Black people,” Arnold said. “We do not know how many Black people are in orchestras. And I say that as a representative of Black Orchestral Network. One of our calls is, let’s start collecting data. Let’s find out, have we done better than the 1.4% number that is going out there? That 1.4% is kind of based on well, “I see a Black person on that stage in that orchestra.” That’s not data.”\u003c/p>\n\u003cp>[aside postid='arts_13909289']In harpist Ann Hobson Pilot’s experience, Black musicians in orchestras can feel isolated. She told a podcast produced by the Black Orchestral Network that when she joined the Boston Symphony Orchestra in 1969, she was its very first Black musician.\u003c/p>\n\u003cp>“When I looked around the orchestra, I didn’t see anyone in there that looked like me,” she said. “And it was another 20 years before another Black player was hired, which is Owen Young, the wonderful cellist. And when I left 20 years later, Owen Young became the only black player in the BSO.” He still is.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.blackorchestralnetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Orchestral Network\u003c/a> arose out of ad hoc Zoom gatherings during the pandemic and after the George Floyd and Black Lives Matter protests. But the participants decided to make it a formal organization. Alex Laing, who plays clarinet with the Phoenix Symphony, said they wanted to become “an advocacy group, a group to speak to the experience of what it is to orchestra—the verb—as a Black person and how to support that in all of the places that it’s happening, not just professional ranks.”\u003c/p>\n\u003cfigure id=\"attachment_13919823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/alexander-laing-jared-platt_custom-afa31fed75ba18496aa2d238c84b2721749ee693-800x534.jpg\" alt=\"A Black man with bald head and neat beard wearing a grey suit and holding an oboe.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Alexander Laing, the co-founder of the Black Orchestral Network. \u003ccite>(Jared Platt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the first things they did was send out a call to action i\u003ca href=\"https://www.blackorchestralnetwork.org/open-letter\" target=\"_blank\" rel=\"noopener noreferrer\">n an open letter \u003c/a>titled, “Dear American Orchestras.” The website lists 60 Black orchestral musicians from around the country who signed it. “We took inspiration from what we’d seen from the theater world and the dance world,” said Laing. “We wanted to articulate a point of view and speak to our experience and then also articulate a vision for the future.”\u003c/p>\n\u003cp>Simon Woods, president and CEO of the \u003ca href=\"https://americanorchestras.org/\" target=\"_blank\" rel=\"noopener noreferrer\">League of American Orchestras\u003c/a>, a lobbying group and the organization that commissioned the 2014 study, said that orchestras in the United States have “traditionally been a pretty white space.”\u003c/p>\n\u003cp>[aside postid='arts_13889101']The League has been looking at equity, diversity and inclusion in its ranks. “There is deep urgency in our field for change,” Wood said. He added that the League is currently working on an update to their earlier study.\u003c/p>\n\u003cp>Still, change comes with challenges. For one, the “blind” audition process, meant to avoid bias by having musicians play behind screens, is integral to the creation of gender parity in orchestras, but has not lead to an increase in Black musicians. The Black Orchestral Network’s Arnold said that’s because who is hired depends on who is invited to audition.\u003c/p>\n\u003cp>“A lot of orchestras aren’t transparent about the fact that they don’t have fully blind auditions,” she said. In other words, plenty of those who audition are able to bypass the screen.\u003c/p>\n\u003cfigure id=\"attachment_13919824\" class=\"wp-caption aligncenter\" style=\"max-width: 477px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919824\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg\" alt=\"A young Black man stands outdoors on a Fall day. A city skyline is visible behind him.\" width=\"477\" height=\"358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d-160x120.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said that there are Black musicians already in the pipeline.\u003c/figcaption>\u003c/figure>\n\u003cp>The other roadblock to change is a tenure system, which means that job openings are often few and far between. Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said there’s no shortage of qualified Black musicians for orchestral jobs, even though many people frame the lack of representation as a problem with the pipeline.\u003c/p>\n\u003cp>“To say we need youth music programs, or it’s happening at the conservatory level; basically, to frame challenges around diversity in a way that absolves orchestras from being part of the problem” is an issue, he said.\u003c/p>\n\u003cp>[aside postid='arts_13884101']Because there \u003cem>is\u003c/em> a pipeline. The Sphinx Organization, based in Detroit, supports young Black and Latinx musicians, the Gateways Music Festival in Rochester features musicians of color from around the country, and the Baltimore Symphony Orchestra recently appointed Jonathon Heyward, a 29-year-old conductor of color, to take over as music director in the fall of 2023.\u003c/p>\n\u003cp>Mark Hanson, president and CEO of the Baltimore Symphony Orchestra said that’s an excellent step, but the organization needs to better reflect its community: “Not just the orchestra itself, but the staff,” he said, “the board, our donors, our partners, and ultimately our audience.”\u003c/p>\n\u003cp>Meanwhile, the Boston Symphony Orchestra is addressing its lack of diversity by creating a Resident Fellowship program for two early career Black musicians this fall. Gail Samuel, the BSO’s president and CEO, said she believes diverse voices are essential for the survival of orchestras: “We need to commit ourselves and our organizations to changing the systems, and the structures, and the policies that have excluded Black musicians for far too long.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Black Orchestral Network co-founder Laing said he hopes the questions they’ve raised will lead to a real change in mindset. “Who is this space for?” Laing asked. “Who is it designed to make comfortable? And whose presence in there upsets that? So, these are the conversations that we’re interested in having.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+are+the+Black+musicians+in+the+country%27s+largest+orchestras%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, the League of American Orchestras, a service organization representing professional and amateur symphony orchestras around the United States, \u003ca href=\"https://americanorchestras.org/racial-ethnic-and-gender-diversity-in-the-orchestra-field/\" target=\"_blank\" rel=\"noopener noreferrer\">published a study on diversity\u003c/a> and found that only 1.4% of orchestra musicians were Black.\u003c/p>\n\u003cp>In 2022, it’s hard to say if that figure has gotten better or worse, said Jennifer Arnold, a co-founder of the Black Orchestral Network. Arnold spent 15 seasons playing viola with the Oregon Symphony and now is director of artistic planning and operations for the Richmond Symphony.\u003c/p>\n\u003cfigure id=\"attachment_13919822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg\" alt=\"A Black woman wearing pink lipstick and floral blouse smiles for the camera.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/jennifer-arnold-courtesy-of-the-artist-8b15043df9e5ab1dfbfb7665cc363eb7694e404f.jpg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jennifer Arnold of the Black Orchestral Network is calling for more data—so they can figure out how many musicians in orchestras are Black. \u003ccite>(Jennifer Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s a real need to actually be transparent about what’s happening in the industry, in terms of Black people,” Arnold said. “We do not know how many Black people are in orchestras. And I say that as a representative of Black Orchestral Network. One of our calls is, let’s start collecting data. Let’s find out, have we done better than the 1.4% number that is going out there? That 1.4% is kind of based on well, “I see a Black person on that stage in that orchestra.” That’s not data.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In harpist Ann Hobson Pilot’s experience, Black musicians in orchestras can feel isolated. She told a podcast produced by the Black Orchestral Network that when she joined the Boston Symphony Orchestra in 1969, she was its very first Black musician.\u003c/p>\n\u003cp>“When I looked around the orchestra, I didn’t see anyone in there that looked like me,” she said. “And it was another 20 years before another Black player was hired, which is Owen Young, the wonderful cellist. And when I left 20 years later, Owen Young became the only black player in the BSO.” He still is.\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.blackorchestralnetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Orchestral Network\u003c/a> arose out of ad hoc Zoom gatherings during the pandemic and after the George Floyd and Black Lives Matter protests. But the participants decided to make it a formal organization. Alex Laing, who plays clarinet with the Phoenix Symphony, said they wanted to become “an advocacy group, a group to speak to the experience of what it is to orchestra—the verb—as a Black person and how to support that in all of the places that it’s happening, not just professional ranks.”\u003c/p>\n\u003cfigure id=\"attachment_13919823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919823\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/alexander-laing-jared-platt_custom-afa31fed75ba18496aa2d238c84b2721749ee693-800x534.jpg\" alt=\"A Black man with bald head and neat beard wearing a grey suit and holding an oboe.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Alexander Laing, the co-founder of the Black Orchestral Network. \u003ccite>(Jared Platt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the first things they did was send out a call to action i\u003ca href=\"https://www.blackorchestralnetwork.org/open-letter\" target=\"_blank\" rel=\"noopener noreferrer\">n an open letter \u003c/a>titled, “Dear American Orchestras.” The website lists 60 Black orchestral musicians from around the country who signed it. “We took inspiration from what we’d seen from the theater world and the dance world,” said Laing. “We wanted to articulate a point of view and speak to our experience and then also articulate a vision for the future.”\u003c/p>\n\u003cp>Simon Woods, president and CEO of the \u003ca href=\"https://americanorchestras.org/\" target=\"_blank\" rel=\"noopener noreferrer\">League of American Orchestras\u003c/a>, a lobbying group and the organization that commissioned the 2014 study, said that orchestras in the United States have “traditionally been a pretty white space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The League has been looking at equity, diversity and inclusion in its ranks. “There is deep urgency in our field for change,” Wood said. He added that the League is currently working on an update to their earlier study.\u003c/p>\n\u003cp>Still, change comes with challenges. For one, the “blind” audition process, meant to avoid bias by having musicians play behind screens, is integral to the creation of gender parity in orchestras, but has not lead to an increase in Black musicians. The Black Orchestral Network’s Arnold said that’s because who is hired depends on who is invited to audition.\u003c/p>\n\u003cp>“A lot of orchestras aren’t transparent about the fact that they don’t have fully blind auditions,” she said. In other words, plenty of those who audition are able to bypass the screen.\u003c/p>\n\u003cfigure id=\"attachment_13919824\" class=\"wp-caption aligncenter\" style=\"max-width: 477px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13919824\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg\" alt=\"A young Black man stands outdoors on a Fall day. A city skyline is visible behind him.\" width=\"477\" height=\"358\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/shea-scruggs-courtesy-of-the-artist-e8625598059f8aec9c181f05fe2fe73f5410dd3d-160x120.jpg 160w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said that there are Black musicians already in the pipeline.\u003c/figcaption>\u003c/figure>\n\u003cp>The other roadblock to change is a tenure system, which means that job openings are often few and far between. Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said there’s no shortage of qualified Black musicians for orchestral jobs, even though many people frame the lack of representation as a problem with the pipeline.\u003c/p>\n\u003cp>“To say we need youth music programs, or it’s happening at the conservatory level; basically, to frame challenges around diversity in a way that absolves orchestras from being part of the problem” is an issue, he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because there \u003cem>is\u003c/em> a pipeline. The Sphinx Organization, based in Detroit, supports young Black and Latinx musicians, the Gateways Music Festival in Rochester features musicians of color from around the country, and the Baltimore Symphony Orchestra recently appointed Jonathon Heyward, a 29-year-old conductor of color, to take over as music director in the fall of 2023.\u003c/p>\n\u003cp>Mark Hanson, president and CEO of the Baltimore Symphony Orchestra said that’s an excellent step, but the organization needs to better reflect its community: “Not just the orchestra itself, but the staff,” he said, “the board, our donors, our partners, and ultimately our audience.”\u003c/p>\n\u003cp>Meanwhile, the Boston Symphony Orchestra is addressing its lack of diversity by creating a Resident Fellowship program for two early career Black musicians this fall. Gail Samuel, the BSO’s president and CEO, said she believes diverse voices are essential for the survival of orchestras: “We need to commit ourselves and our organizations to changing the systems, and the structures, and the policies that have excluded Black musicians for far too long.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Black Orchestral Network co-founder Laing said he hopes the questions they’ve raised will lead to a real change in mindset. “Who is this space for?” Laing asked. “Who is it designed to make comfortable? And whose presence in there upsets that? So, these are the conversations that we’re interested in having.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+are+the+Black+musicians+in+the+country%27s+largest+orchestras%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Nothing Compares’: New Sinead O’Connor Documentary Leaves Half Her Story Untold",
"headTitle": "‘Nothing Compares’: New Sinead O’Connor Documentary Leaves Half Her Story Untold | KQED",
"content": "\u003cp>Nearly 10 months ago, Sinead O’Connor was thrust back into the spotlight for the worst possible reasons. Following the suicide of her 17-year-old son Shane, she tweeted, “There is no point living without him,” and that she had “decided to follow him.” Outside parties intervened and the singer ultimately did not harm herself—but the declaration was another in a string of public breakdowns and cries for help by O’Connor.\u003c/p>\n\u003cp>In 2015, O’Connor announced on Facebook that she had “taken an overdose.” In 2020, she postponed tour dates in order to get assistance with PTSD and substance abuse issues. “I grew up with a lot of trauma and abuse,” \u003ca href=\"https://people.com/music/sinead-oconnor-enters-rehab-trauma-addiction/\" target=\"_blank\" rel=\"noopener noreferrer\">she explained at the time\u003c/a>. “I then went straight into the music business and never learned really how to make a normal life.”\u003c/p>\n\u003cp>The world has subsequently been left with a plethora of questions about how O’Connor is doing; how she is coping; how she is healing. If you’re one of the fans who has wondered or worried about her over the last few years, the prospect of a new O’Connor documentary is probably an exciting one. Unfortunately, while \u003cem>Nothing Compares \u003c/em>is an entertaining reminder of what made O’Connor so great at the start of her career, the film barely touches on the last 30 years of her life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=djZFgiTgctY\u003c/p>\n\u003cp>\u003cem>Nothing Compares \u003c/em>does, thankfully, treat O’Connor with the understanding and reverence that she deserves. Early footage of the artist finding herself—her voice, her art—is thrilling. The pain of the childhood abuse she suffered at the hands of her mother remains palpable throughout. And the documentary is clear about the fact that, if O’Connor often resembled a wounded creature fighting for her life onstage, it’s because that’s exactly what she was.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewers will leave \u003cem>Nothing Compares\u003c/em> thoroughly reminded of O’Connor’s unique talents, her inspiring determination and the inner strength that made her such a stubborn, inflexible public figure. For those of us who grew up watching the beautiful and enigmatic woman with the shaved head on MTV, \u003cem>Nothing Compares\u003c/em> is a wonderful trip down memory lane. For younger generations, it’s a fantastic introduction to her talents, her music and the permanent imprint she left on pop culture. (Commentary from the likes of Kathleen Hanna, Chuck D. and Peaches hammers that last point home.)\u003c/p>\n\u003cp>[aside postid='arts_13919689']If \u003cem>Nothing Compares \u003c/em>were part one of a two-part documentary, it would be damn near perfect. It’s a great retelling of her life up to the end of 1992. It’s also a decent examination of the injustice of O’Connor losing her career for (quite rightly) taking a stand against child abuse in the Catholic Church. But there is a dark irony inherent in cutting off O’Connor’s story here, at the very same point that American mainstream audiences did. That backlash, of course, arrived after she tore up a photo of the pope live on \u003cem>SNL—\u003c/em>something that prompted boos and hostility from even Bob Dylan audiences. (Footage here of Joe Pesci publicly threatening O’Connor with violence over the act has not aged well.)\u003c/p>\n\u003cp>Sinead O’Connor was just 25 at the time she was blacklisted by the entertainment industry. She’s 55 now, and has birthed three more children, seven more albums and a memoir (\u003cem>Rememberings\u003c/em>). That \u003cem>Nothing Compares\u003c/em> fails to touch on any of those things is confounding—especially after the film demonstrates that the cornerstone of O’Connor’s career has always been complete, unfiltered honesty, no matter the consequences; no matter what we might think of her.\u003c/p>\n\u003cp>The movie ends with a montage of the people and movements for whom O’Connor helped carve a path. Pussy Riot, Lady Gaga, the Women’s March and Emma Gonzalez from March For Our Lives are all present. Footage of Billie Eilish screaming “Shut the fuck up about our bodies!” on stage is particularly powerful in the context. And while that’s all valid, it is far too neat an ending for so complex a person’s story.\u003c/p>\n\u003cp>The one brief moment we do see O’Connor in the present day—also towards the end of the film—is notable for the information it doesn’t share. There is no mention of the fact that she is wearing a hijab now because she converted to Islam in 2018. The fact that she stopped even using the name Sinead O’Connor at that time also goes unmentioned. (Her name is Shuhada Sadaqat now.)\u003c/p>\n\u003cp>[aside postid='arts_13909111']O’Connor was interviewed for the film, and narrates at times by voiceover—the depth of her voice now will come as a surprise to some—and her quotes, smattered throughout the film, are some of the most enlightening here. In particular, what she says about the fallout from \u003cem>SNL\u003c/em> is astonishing. “I regret that I was so wounded already that that really killed and hurt me,” she says. “It was the proudest thing I’ve ever done as an artist. They broke my heart and they killed me—but I didn’t die.”\u003c/p>\n\u003cp>In the end, \u003cem>Nothing Compares\u003c/em> tells us the Sinead O’Connor story we already know. And though it’s well told, hearing what has happened during her decades out of the spotlight would have been more illuminating. Keeping this portion of her life in the dark feels like an extension of the disservice she was done 30 years ago.\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>\n\u003cp>\u003cem>‘Nothing Compares’ will be available on demand on Sept. 30, on Showtime. \u003ca href=\"https://www.sho.com/titles/3516714/nothing-compares\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 10 months ago, Sinead O’Connor was thrust back into the spotlight for the worst possible reasons. Following the suicide of her 17-year-old son Shane, she tweeted, “There is no point living without him,” and that she had “decided to follow him.” Outside parties intervened and the singer ultimately did not harm herself—but the declaration was another in a string of public breakdowns and cries for help by O’Connor.\u003c/p>\n\u003cp>In 2015, O’Connor announced on Facebook that she had “taken an overdose.” In 2020, she postponed tour dates in order to get assistance with PTSD and substance abuse issues. “I grew up with a lot of trauma and abuse,” \u003ca href=\"https://people.com/music/sinead-oconnor-enters-rehab-trauma-addiction/\" target=\"_blank\" rel=\"noopener noreferrer\">she explained at the time\u003c/a>. “I then went straight into the music business and never learned really how to make a normal life.”\u003c/p>\n\u003cp>The world has subsequently been left with a plethora of questions about how O’Connor is doing; how she is coping; how she is healing. If you’re one of the fans who has wondered or worried about her over the last few years, the prospect of a new O’Connor documentary is probably an exciting one. Unfortunately, while \u003cem>Nothing Compares \u003c/em>is an entertaining reminder of what made O’Connor so great at the start of her career, the film barely touches on the last 30 years of her life.\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/djZFgiTgctY'\n title='//www.youtube.com/embed/djZFgiTgctY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Nothing Compares \u003c/em>does, thankfully, treat O’Connor with the understanding and reverence that she deserves. Early footage of the artist finding herself—her voice, her art—is thrilling. The pain of the childhood abuse she suffered at the hands of her mother remains palpable throughout. And the documentary is clear about the fact that, if O’Connor often resembled a wounded creature fighting for her life onstage, it’s because that’s exactly what she was.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003cem>Nothing Compares \u003c/em>were part one of a two-part documentary, it would be damn near perfect. It’s a great retelling of her life up to the end of 1992. It’s also a decent examination of the injustice of O’Connor losing her career for (quite rightly) taking a stand against child abuse in the Catholic Church. But there is a dark irony inherent in cutting off O’Connor’s story here, at the very same point that American mainstream audiences did. That backlash, of course, arrived after she tore up a photo of the pope live on \u003cem>SNL—\u003c/em>something that prompted boos and hostility from even Bob Dylan audiences. (Footage here of Joe Pesci publicly threatening O’Connor with violence over the act has not aged well.)\u003c/p>\n\u003cp>Sinead O’Connor was just 25 at the time she was blacklisted by the entertainment industry. She’s 55 now, and has birthed three more children, seven more albums and a memoir (\u003cem>Rememberings\u003c/em>). That \u003cem>Nothing Compares\u003c/em> fails to touch on any of those things is confounding—especially after the film demonstrates that the cornerstone of O’Connor’s career has always been complete, unfiltered honesty, no matter the consequences; no matter what we might think of her.\u003c/p>\n\u003cp>The movie ends with a montage of the people and movements for whom O’Connor helped carve a path. Pussy Riot, Lady Gaga, the Women’s March and Emma Gonzalez from March For Our Lives are all present. Footage of Billie Eilish screaming “Shut the fuck up about our bodies!” on stage is particularly powerful in the context. And while that’s all valid, it is far too neat an ending for so complex a person’s story.\u003c/p>\n\u003cp>The one brief moment we do see O’Connor in the present day—also towards the end of the film—is notable for the information it doesn’t share. There is no mention of the fact that she is wearing a hijab now because she converted to Islam in 2018. The fact that she stopped even using the name Sinead O’Connor at that time also goes unmentioned. (Her name is Shuhada Sadaqat now.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>O’Connor was interviewed for the film, and narrates at times by voiceover—the depth of her voice now will come as a surprise to some—and her quotes, smattered throughout the film, are some of the most enlightening here. In particular, what she says about the fallout from \u003cem>SNL\u003c/em> is astonishing. “I regret that I was so wounded already that that really killed and hurt me,” she says. “It was the proudest thing I’ve ever done as an artist. They broke my heart and they killed me—but I didn’t die.”\u003c/p>\n\u003cp>In the end, \u003cem>Nothing Compares\u003c/em> tells us the Sinead O’Connor story we already know. And though it’s well told, hearing what has happened during her decades out of the spotlight would have been more illuminating. Keeping this portion of her life in the dark feels like an extension of the disservice she was done 30 years ago.\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>\n\u003cp>\u003cem>‘Nothing Compares’ will be available on demand on Sept. 30, on Showtime. \u003ca href=\"https://www.sho.com/titles/3516714/nothing-compares\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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