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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult \u003cem>not\u003c/em> to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vangelis%2C+famed+film+composer+and+synth+pioneer%2C+dead+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "photos-town-up-tuesday-oakland-lake-merritt",
"title": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display",
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"headTitle": "PHOTOS: ‘Town Up Tuesday’ Showed Oakland’s Hip-Hop Culture on Full Display | KQED",
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"content": "\u003cp>On May 17, the Oakland-based nonprofit \u003ca href=\"https://www.instagram.com/urbanpeace510/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Peace Movement\u003c/a> held a voter registration event at Lake Merritt called \u003ca href=\"https://www.kqed.org/arts/13913202/town-up-tuesday-brings-bay-area-hitmakers-voter-participation-to-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Town Up Tuesday\u003c/a>. The four-hour festival had elements of a political rally, a prayer session and a family reunion. But above all, the power of Oakland’s hip-hop culture was on full display.\u003c/p>\n\u003cp>As a few vendors flanked the grassy hillside that sits adjacent to the landmark Fairyland theme park, attendees sat scattered on the grass while even more stood in front of Lake Merritt’s bandstand. People danced and held up their phones, capturing footage of some of the Bay Area’s most beloved musicians.\u003c/p>\n\u003cp>[aside postID='arts_13825052']The highly energetic artist from East Oakland, \u003ca href=\"https://www.instagram.com/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, had a headline performance that didn’t disappoint. San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> big-stepped off the stage and into the audience. Crowd favorite \u003ca href=\"https://www.instagram.com/goapele/\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> performed alongside the Grammy-nominated duo \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>. During \u003ca href=\"https://www.instagram.com/therealsymba/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba’s\u003c/a> set, guests \u003ca href=\"https://www.instagram.com/ally_cocaine/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and \u003ca href=\"https://www.instagram.com/youngjr/\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a> performed. And then Symba debuted his new track “\u003ca href=\"https://www.youtube.com/watch?v=vNm4JCPALPM\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT,\u003c/a>” which officially dropped today.\u003c/p>\n\u003cp>Rappers \u003ca href=\"https://www.instagram.com/two14music/\" target=\"_blank\" rel=\"noopener noreferrer\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt,\u003c/a> and the duo of \u003ca href=\"https://www.instagram.com/harmoniandlyric/\" target=\"_blank\" rel=\"noopener noreferrer\">Harmoni & Lyric\u003c/a>, as well as members of the \u003ca href=\"https://www.instagram.com/theturffeinz/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Feinz\u003c/a> dance collective,\u003ca href=\"https://www.instagram.com/stealtheshow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> DJ Kleptic\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/djfuze_du/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a> all rocked the stage, as \u003ca href=\"https://www.instagram.com/dnastee/\" target=\"_blank\" rel=\"noopener noreferrer\">Leon “Dnas” Sykes\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> held it down hosting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point during the show, author and community advocate \u003ca href=\"https://www.instagram.com/official_darryl_reed/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a> honored Urban Peace Movement founder \u003ca href=\"https://www.instagram.com/niclee510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Lee \u003c/a>with a floral gift. It was a much-deserved acknowledgement of the work she and her team undertook to make the event happen—as well as the work they do on a daily basis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>All Photos by Pendarvis Harshaw/KQED:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" 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loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913558\" 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"excerpt": "See Goapele, Stunnaman02, Kamaiyah, Symba and more at the Lake Merritt bandstand. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On May 17, the Oakland-based nonprofit \u003ca href=\"https://www.instagram.com/urbanpeace510/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Peace Movement\u003c/a> held a voter registration event at Lake Merritt called \u003ca href=\"https://www.kqed.org/arts/13913202/town-up-tuesday-brings-bay-area-hitmakers-voter-participation-to-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Town Up Tuesday\u003c/a>. The four-hour festival had elements of a political rally, a prayer session and a family reunion. But above all, the power of Oakland’s hip-hop culture was on full display.\u003c/p>\n\u003cp>As a few vendors flanked the grassy hillside that sits adjacent to the landmark Fairyland theme park, attendees sat scattered on the grass while even more stood in front of Lake Merritt’s bandstand. People danced and held up their phones, capturing footage of some of the Bay Area’s most beloved musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The highly energetic artist from East Oakland, \u003ca href=\"https://www.instagram.com/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, had a headline performance that didn’t disappoint. San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> big-stepped off the stage and into the audience. Crowd favorite \u003ca href=\"https://www.instagram.com/goapele/\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> performed alongside the Grammy-nominated duo \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>. During \u003ca href=\"https://www.instagram.com/therealsymba/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba’s\u003c/a> set, guests \u003ca href=\"https://www.instagram.com/ally_cocaine/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and \u003ca href=\"https://www.instagram.com/youngjr/\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a> performed. And then Symba debuted his new track “\u003ca href=\"https://www.youtube.com/watch?v=vNm4JCPALPM\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT,\u003c/a>” which officially dropped today.\u003c/p>\n\u003cp>Rappers \u003ca href=\"https://www.instagram.com/two14music/\" target=\"_blank\" rel=\"noopener noreferrer\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt,\u003c/a> and the duo of \u003ca href=\"https://www.instagram.com/harmoniandlyric/\" target=\"_blank\" rel=\"noopener noreferrer\">Harmoni & Lyric\u003c/a>, as well as members of the \u003ca href=\"https://www.instagram.com/theturffeinz/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Feinz\u003c/a> dance collective,\u003ca href=\"https://www.instagram.com/stealtheshow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> DJ Kleptic\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/djfuze_du/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a> all rocked the stage, as \u003ca href=\"https://www.instagram.com/dnastee/\" target=\"_blank\" rel=\"noopener noreferrer\">Leon “Dnas” Sykes\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> held it down hosting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point during the show, author and community advocate \u003ca href=\"https://www.instagram.com/official_darryl_reed/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a> honored Urban Peace Movement founder \u003ca href=\"https://www.instagram.com/niclee510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Lee \u003c/a>with a floral gift. It was a much-deserved acknowledgement of the work she and her team undertook to make the event happen—as well as the work they do on a daily basis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>All Photos by Pendarvis Harshaw/KQED:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-10-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-10-1020x682.jpg 1020w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-8-1.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-7-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-7.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-5-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-3-1-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-3-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-18-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" 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"title": "‘Pop-Up Magazine’ Returns to Oakland with Homegrown Talent",
"headTitle": "‘Pop-Up Magazine’ Returns to Oakland with Homegrown Talent | KQED",
"content": "\u003cp>It’s been a minute since we’ve recommended a \u003ci>Pop-Up Magazine\u003c/i> stage show. The live magazine \u003ca href=\"https://www.kqed.org/arts/13880706/pop-up-magazine-trades-stage-for-screen-and-were-all-invited\" target=\"_blank\" rel=\"noopener noreferrer\">pivoted to video\u003c/a> early in the pandemic, then produced a food-themed “Issue in a Box” in late 2020. Last year, the team created a “\u003ca href=\"https://www.popupmagazine.com/sidewalk/\" target=\"_blank\" rel=\"noopener noreferrer\">Sidewalk Issue\u003c/a>,” blending magazine, scavenger hunt and public art to create tangible (and by all accounts, delightful) experiences in San Francisco, Los Angeles and Brooklyn, before resuming in-person events for a fall 2021 tour.\u003c/p>\n\u003cp>On Tuesday, May 24, \u003ci>Pop-Up\u003c/i> returns to its familiar spot on Oakland’s Paramount Theatre stage, bringing together a group of talented people for a night of multimedia nonfiction storytelling. If you haven’t experienced a \u003ci>Pop-Up\u003c/i> show before, picture something akin to sitting down with your smartest friends and consuming a magazine, page by page and section by section, with the help of erudite narrators and live musical accompaniment (courtesy house band \u003ca href=\"http://magikmagikorchestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Magik*Magik Orchestra\u003c/a>).[aside postID='arts_13908852']\u003c/p>\n\u003cp>The “Spring 2022 Issue” includes podcaster (and one of my favorite \u003ca href=\"https://twitter.com/brokeymcpoverty\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter presences\u003c/a>) Tracy Clayton; author and illustrator Kristen Radtke; writers Chloé Cooper Jones, Brooke Jarvis and Elena Passarello; photographer Oscar Castillo; and Oakland-based filmmaker \u003ca href=\"https://adrianburrell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adrian L. Burrell\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Pop-Up Magazine\u003c/i> likes to keep things mysterious beforehand, but from the titles of various presenters’ pieces, I can tell you this: Clayton will be hosting a game show with the entire audience as participants, Castillo examines music and family in Venezuela’s “most notorious prison,” and Burrell is showing a film that chronicles his family’s journey from Jim Crow-era Louisiana to modern-day West Oakland. Your live event-starved senses will thank you.\u003c/p>\n\u003cp>\u003ci>‘Pop-Up Magazine’ takes place May 24, 7:30pm at Paramount Theatre. \u003ca href=\"https://www.popupmagazine.com/spring22/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Head down to Lake Merritt in on any given weekend in Oakland, and you’ll usually find a party: there’s almost always DJs, dancers, people kicking back or firing up the BBQ, and an overall good community vibe. \u003c/p>\n\u003cp>For Town Up Tuesday, happening May 17 at the lake’s bandstand, that vibe will be enhanced by a stacked lineup of Bay Area artists—hitmakers like Kamaiyah and Stunnaman02, as well and the Turf Fienz dance crew, DJs like the Warriors’ D-Sharp, and hosts D-Nas, Rocky Rivera and Goapele. \u003c/p>\n\u003cp>But the free event is also a chance to educate Oakland’s young voters on the importance of the upcoming elections, says Nicole Lee of Urban Peace Movement, the event’s organizers.\u003c/p>\n\u003cp>[aside postID='arts_13900085']“We love the city of Oakland, and we love young people in Oakland,” Lee says, excited about offering entertainment and socializing after two years of a pandemic. “But the other reason for doing this event is that participation in local elections really matters, and especially the voice of young people in those elections.”\u003c/p>\n\u003cp>So, while attendees celebrate to “\u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">How Does It Feel\u003c/a>” or “\u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" rel=\"noopener noreferrer\" target=\"_blank\">Big Steppin’\u003c/a>,” they’ll also receive information about the upcoming Alameda County races for District Attorney and the Board of Supervisors. In November, voters will decide the Mayor of Oakland. QR codes around the event will lead to voter registration forms, and volunteers will be out in the crowd, talking to fans about the elections.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Lee says, it’s a celebration, sure. But with issues like housing and economic development affecting the lived experience of the next generation in The Town, “it’s also a place for people to get educated, in fun way, about why it’s important to get involved in local elections.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday gets underway on Tuesday, May 17, from 3-7pm, at the Edoff Memorial Bandstand at Lake Merritt. Admission is free with registration. \u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-324411703137\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Lee says, it’s a celebration, sure. But with issues like housing and economic development affecting the lived experience of the next generation in The Town, “it’s also a place for people to get educated, in fun way, about why it’s important to get involved in local elections.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday gets underway on Tuesday, May 17, from 3-7pm, at the Edoff Memorial Bandstand at Lake Merritt. Admission is free with registration. \u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-324411703137\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ashley Judd revealed a number of details about the death of her mother, country star Naomi Judd, in an interview with Diane Sawyer on \u003ca href=\"https://www.goodmorningamerica.com/culture/video/ashley-judd-speaks-mothers-passing-84666410\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Good Morning America\u003c/em>\u003c/a>\u003cem>. \u003c/em>Judd said that her mother struggled with mental health. “Her brain hurt,” Judd said. “It physically hurt.”\u003c/p>\n\u003cp>[aside postID='pop_104126,arts_13893843']Judd revealed that her mother killed herself, saying the family was very uncomfortable sharing the information, “but understand that we’re in a position that if we don’t say it someone else is going to.”\u003c/p>\n\u003cp>Naomi Judd was part of the famed duo The Judds, with her daughter Wynonna. They dominated the country charts in the 1980s until Naomi Judd was diagnosed with hepatitis C in 1991. Her death was announced in April, a day before she was inducted in to the Country Music Hall of Fame.\u003c/p>\n\u003cp>Ashley Judd said that the praise and accolades of her peers couldn’t penetrate her mother’s mental illness.\u003c/p>\n\u003cp>Judd also revealed that she was the one who found her mother the day she died. “I have both grief and trauma from discovering her,” said Judd.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8X9sfjOA51k\u003c/p>\n\u003cp>There are other details that the family is hoping to keep private, but Judd encouraged anyone else struggling with mental illness to reach out and talk to someone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the \u003c/em>\u003ca href=\"http://suicidepreventionlifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>National Suicide Prevention Lifeline\u003c/em>\u003c/a>\u003cem> at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the \u003c/em>\u003ca href=\"http://www.crisistextline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crisis Text Line\u003c/em>\u003c/a>\u003cem> by texting HOME to 741741.\u003c/em>\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=Ashley+Judd+reveals+details+about+Naomi+Judd%27s+suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Judd revealed that her mother killed herself, saying the family was very uncomfortable sharing the information, “but understand that we’re in a position that if we don’t say it someone else is going to.”\u003c/p>\n\u003cp>Naomi Judd was part of the famed duo The Judds, with her daughter Wynonna. They dominated the country charts in the 1980s until Naomi Judd was diagnosed with hepatitis C in 1991. Her death was announced in April, a day before she was inducted in to the Country Music Hall of Fame.\u003c/p>\n\u003cp>Ashley Judd said that the praise and accolades of her peers couldn’t penetrate her mother’s mental illness.\u003c/p>\n\u003cp>Judd also revealed that she was the one who found her mother the day she died. “I have both grief and trauma from discovering her,” said Judd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8X9sfjOA51k'\n title='//www.youtube.com/embed/8X9sfjOA51k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are other details that the family is hoping to keep private, but Judd encouraged anyone else struggling with mental illness to reach out and talk to someone.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>If you or someone you know may be considering suicide, contact the \u003c/em>\u003ca href=\"http://suicidepreventionlifeline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>National Suicide Prevention Lifeline\u003c/em>\u003c/a>\u003cem> at 1-800-273-8255 (En Español: 1-888-628-9454; Deaf and Hard of Hearing: 1-800-799-4889) or the \u003c/em>\u003ca href=\"http://www.crisistextline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crisis Text Line\u003c/em>\u003c/a>\u003cem> by texting HOME to 741741.\u003c/em>\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=Ashley+Judd+reveals+details+about+Naomi+Judd%27s+suicide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003cem>Punk/Performance in the ’Loin\u003c/em> exhibit carries the unusual trait of being simultaneously far too much and not nearly enough.\u003c/p>\n\u003cp>Not nearly enough, because, aside from a small collection of flyers and three (wonderful as usual) \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a> photos, there’s not much to look at. (Four screens playing experimental clips on a loop are alluring for only a matter of minutes.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\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\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\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\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bobby McFerrin’s ‘Circlesongs’ and the Politics of Play",
"headTitle": "Bobby McFerrin’s ‘Circlesongs’ and the Politics of Play | KQED",
"content": "\u003cp>Do you remember the last thing you said aloud? \u003c/p>\n\u003cp>No? That’s ok. Try saying this: “Wow.” Pucker up. Let the lips widen and whip around a small ball of air before returning to their pursed shape. “W-O-W.” Now do it again. See that coworker looking at you strangely? Invite them to join you. “Wow.” Keep it up, until it loses all sense and becomes pure sound.\u003c/p>\n\u003cp>If you’re still with me, you’ve already enacted the core principle of Bobby McFerrin’s performance practice: playful repetition. For McFerrin, there’s a thin line between spoken word and song. A simple “wow” from the crowd becomes a bebop solo or a chorale in four-part harmony. \u003c/p>\n\u003cp>“As musicians,” McFerrin told me last week, “we say, ‘Okay, ready, set, \u003cem>play\u003c/em>.’ And I take that literally. The stage is a platform for adventure…Everything is game.”\u003c/p>\n\u003cp>You might know McFerrin as the voice behind the 1988 hit “Don’t Worry, Be Happy,” or even as one of the inspirations for Key and Peele’s “\u003ca href=\"https://www.youtube.com/watch?v=nCYWX5CkyjU\" rel=\"noopener noreferrer\" target=\"_blank\">Kings of Mouth Noise\u003c/a>” sketch. But scratch the surface of celebrity, and you’ll realize that McFerrin is one of the most inimitable musicians of the past 40 years: a virtuosic solo performer with a four-octave range, conductor of St. Paul Chamber Orchestra, and 2020 NEA Jazz Master.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in his seventies, McFerrin has returned to the stage, performing his \u003cem>Circlesongs\u003c/em> at Freight and Salvage each Monday through the end of May. It is the best kept secret in Berkeley right now. Playing the audience as his second instrument, McFerrin is clearly still an unparalleled creative force, a peaceful warrior of song. \u003c/p>\n\u003cfigure id=\"attachment_13913145\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_.jpg\" alt=\"An African American man in a sweatshirt, jeans, and dreadlocks on stage. \" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13913145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">McFerrin leads a recent ‘Circlesongs’ performance at Freight & Salvage in Berkeley. \u003ccite>(Courtesy Freight & Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Communal Jam Session\u003c/h2>\n\u003cp>McFerrin released \u003cem>Circlesongs\u003c/em> as an album in 1997, but the term describes something much bigger: a completely improvised collective performance. The project began in the late 1980s, first as “Voicestra,” then “Hard Choral” in the nineties, and, until the pandemic, “Gimme 5.” The latest group, “Motion,” is aptly named.\u003c/p>\n\u003cp>“The simplest definition of improvisation is motion,” says McFerrin. “Play one note, then you play another one, and then another. And everyone can do that. It’s just like following words on a page.” \u003c/p>\n\u003cp>If improvising is like reading a book, it’s one we’re all writing. McFerrin leads \u003cem>Circlesongs\u003c/em>, playing the microphone like a piccolo, his longtime soundman Dan Vicari adding just the right amount of reverb to turn the wooden paneled room into a European cathedral. But like any great improviser, McFerrin knows how to foreground others. Bryan Dyer sings a rubber-band bassline to every figure, accompanied by the uncanny realism of Dave Worm’s vocal percussion. Destani Wolf harmonizes above and below, while Tammi Brown takes us into heavens of the higher registers. If you’re a vocalist or instrumentalist, don’t forget your axe: you may find yourself onstage.\u003c/p>\n\u003cp>[aside postID='arts_10430792']\u003cem>Circlesongs\u003c/em> is a communal jam session, but it’s also a very personal affair. This is especially true for Dave Worm, who was a theology student in Berkeley in the 1980s when he discovered McFerrin’s music at Leopold’s Records. As Worm recalls, “I just thought, if I could ever sing like this guy … that would be the thing.”\u003c/p>\n\u003cp>Worm changed career trajectories, and later that year, when he was singing at a Christmas party at the Newman Center, in walked McFerrin. The chance encounter led to a series of auditions, and the two have now been performing together for nearly 30 years. \u003c/p>\n\u003cp>But of all the members on stage, \u003cem>Circlesongs\u003c/em> is most personal for McFerrin. Having \u003ca href=\"https://www.bbc.co.uk/programmes/m0015tyc\" rel=\"noopener noreferrer\" target=\"_blank\">spoken openly about Parkinson’s\u003c/a> and the \u003ca href=\"https://www.npr.org/2022/01/20/1074372317/bobby-mcferrin-reflects-on-going-from-the-hotel-bar-to-prescribing-medicine-musi\" rel=\"noopener noreferrer\" target=\"_blank\">sudden loss of his friend Chick Corea\u003c/a>, performance is for him an act of spiritual healing.\u003c/p>\n\u003cp>“I’ve done some concerts, and [beforehand] I felt physically lousy,” he explains. “And then I do the gig and find out that 90 minutes later, I feel so much better.”\u003c/p>\n\u003cfigure id=\"attachment_13913144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_.jpg\" alt=\"An African American man and woman sit on stage, singing into microphones\" width=\"1920\" height=\"1372\" class=\"size-full wp-image-13913144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">McFerrin sings at a recent ‘Circlesongs’ performance at Freight & Salvage in Berkeley. \u003ccite>(Courtesy Freight & Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Democratic Principles at Play\u003c/h2>\n\u003cp>I’m usually wary, as a secular Jew in a Christain society, of any whiff of organized religion. But to become part of McFerrin’s communal canvas is to come as close to a religious experience as I’ve ever had. \u003cem>Circlesongs\u003c/em> unsettles the distinction between the spiritual and the secular: it all comes full circle.\u003c/p>\n\u003cp>If you’re not “wow-ed” or easily moved, you’ll definitely learn something. McFerrin often tells stories about his father, Robert McFerrin Sr., who was the first African American to sing at the Metropolitan Opera. As he tells it, “I used to hide under the piano as a kid. And so I heard some of his voice lessons.”\u003c/p>\n\u003cp>When he described these lessons to me, they sounded painstakingly detailed. But “Papa would take a mediocre singer and turn them into a really fine instrument.” With \u003cem>Circlesongs\u003c/em>, McFerrin revises his father’s method by making play the most powerful pedagogy, teaching us that we are in fact our own best teachers.\u003c/p>\n\u003cp>Though singing collectively is an ancient practice, McFerrin’s \u003cem>Circlesongs\u003c/em> gives it new meaning today. “I’ve been thinking a lot about musicians’ role during this time,” he told me, “the political unrest that’s going on in the world, on the planet. The threats to our everyday lives and the role that singing can have.”\u003c/p>\n\u003cp>[aside postID='news_11320037']Because we’ve spent the past five years fearing the rise of fascism, and the last two terrified of each other’s breath, \u003cem>Circlesongs\u003c/em> is paean to the democratic principle of shared air. The performance reminded me of the etymological meaning of inspiration: to allow yourself to be breathed into. Even though the audience is vaccinated and masked, it’s still the first time—in a long time—where everyone laughing and singing around me felt less like a burden and more like a blessing. \u003c/p>\n\u003cp>Thus, McFerrin’s \u003cem>Circlesongs\u003c/em> offers play as not just an aesthetics but a politics, a way not of escaping the problems of the world but a way of shaping them. “This might sound really naïve,” he says “but the first thing the politicians should do is sing. Talk later. They should first become acquainted with each other’s songs and dances and rituals.” Singing for him is not simply a celebration of victory nor a palliative for defeat, but a practice, something you do to instantiate change in the world everyday.\u003c/p>\n\u003cp>It’s no coincidence, then, that the show starts at 12pm. People are hungry for incorporating improvisation into their daily lives, and \u003cem>Circlesongs\u003c/em> offers that nourishment weekly. If you can make it, but especially if you can’t, pay attention to the last thing you said—because every breath has the potential to take flight into song. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bobby McFerrin performs ‘Circlesongs’ each Monday, at noon, at Freight & Salvage in Berkeley. \u003ca href=\"https://secure.thefreight.org/events/466,10848?view=list&hidedate&kid=shows&startdate=2022-04-11\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you remember the last thing you said aloud? \u003c/p>\n\u003cp>No? That’s ok. Try saying this: “Wow.” Pucker up. Let the lips widen and whip around a small ball of air before returning to their pursed shape. “W-O-W.” Now do it again. See that coworker looking at you strangely? Invite them to join you. “Wow.” Keep it up, until it loses all sense and becomes pure sound.\u003c/p>\n\u003cp>If you’re still with me, you’ve already enacted the core principle of Bobby McFerrin’s performance practice: playful repetition. For McFerrin, there’s a thin line between spoken word and song. A simple “wow” from the crowd becomes a bebop solo or a chorale in four-part harmony. \u003c/p>\n\u003cp>“As musicians,” McFerrin told me last week, “we say, ‘Okay, ready, set, \u003cem>play\u003c/em>.’ And I take that literally. The stage is a platform for adventure…Everything is game.”\u003c/p>\n\u003cp>You might know McFerrin as the voice behind the 1988 hit “Don’t Worry, Be Happy,” or even as one of the inspirations for Key and Peele’s “\u003ca href=\"https://www.youtube.com/watch?v=nCYWX5CkyjU\" rel=\"noopener noreferrer\" target=\"_blank\">Kings of Mouth Noise\u003c/a>” sketch. But scratch the surface of celebrity, and you’ll realize that McFerrin is one of the most inimitable musicians of the past 40 years: a virtuosic solo performer with a four-octave range, conductor of St. Paul Chamber Orchestra, and 2020 NEA Jazz Master.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in his seventies, McFerrin has returned to the stage, performing his \u003cem>Circlesongs\u003c/em> at Freight and Salvage each Monday through the end of May. It is the best kept secret in Berkeley right now. Playing the audience as his second instrument, McFerrin is clearly still an unparalleled creative force, a peaceful warrior of song. \u003c/p>\n\u003cfigure id=\"attachment_13913145\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_.jpg\" alt=\"An African American man in a sweatshirt, jeans, and dreadlocks on stage. \" width=\"1920\" height=\"1277\" class=\"size-full wp-image-13913145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.Freight.BW_-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">McFerrin leads a recent ‘Circlesongs’ performance at Freight & Salvage in Berkeley. \u003ccite>(Courtesy Freight & Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Communal Jam Session\u003c/h2>\n\u003cp>McFerrin released \u003cem>Circlesongs\u003c/em> as an album in 1997, but the term describes something much bigger: a completely improvised collective performance. The project began in the late 1980s, first as “Voicestra,” then “Hard Choral” in the nineties, and, until the pandemic, “Gimme 5.” The latest group, “Motion,” is aptly named.\u003c/p>\n\u003cp>“The simplest definition of improvisation is motion,” says McFerrin. “Play one note, then you play another one, and then another. And everyone can do that. It’s just like following words on a page.” \u003c/p>\n\u003cp>If improvising is like reading a book, it’s one we’re all writing. McFerrin leads \u003cem>Circlesongs\u003c/em>, playing the microphone like a piccolo, his longtime soundman Dan Vicari adding just the right amount of reverb to turn the wooden paneled room into a European cathedral. But like any great improviser, McFerrin knows how to foreground others. Bryan Dyer sings a rubber-band bassline to every figure, accompanied by the uncanny realism of Dave Worm’s vocal percussion. Destani Wolf harmonizes above and below, while Tammi Brown takes us into heavens of the higher registers. If you’re a vocalist or instrumentalist, don’t forget your axe: you may find yourself onstage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Circlesongs\u003c/em> is a communal jam session, but it’s also a very personal affair. This is especially true for Dave Worm, who was a theology student in Berkeley in the 1980s when he discovered McFerrin’s music at Leopold’s Records. As Worm recalls, “I just thought, if I could ever sing like this guy … that would be the thing.”\u003c/p>\n\u003cp>Worm changed career trajectories, and later that year, when he was singing at a Christmas party at the Newman Center, in walked McFerrin. The chance encounter led to a series of auditions, and the two have now been performing together for nearly 30 years. \u003c/p>\n\u003cp>But of all the members on stage, \u003cem>Circlesongs\u003c/em> is most personal for McFerrin. Having \u003ca href=\"https://www.bbc.co.uk/programmes/m0015tyc\" rel=\"noopener noreferrer\" target=\"_blank\">spoken openly about Parkinson’s\u003c/a> and the \u003ca href=\"https://www.npr.org/2022/01/20/1074372317/bobby-mcferrin-reflects-on-going-from-the-hotel-bar-to-prescribing-medicine-musi\" rel=\"noopener noreferrer\" target=\"_blank\">sudden loss of his friend Chick Corea\u003c/a>, performance is for him an act of spiritual healing.\u003c/p>\n\u003cp>“I’ve done some concerts, and [beforehand] I felt physically lousy,” he explains. “And then I do the gig and find out that 90 minutes later, I feel so much better.”\u003c/p>\n\u003cfigure id=\"attachment_13913144\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_.jpg\" alt=\"An African American man and woman sit on stage, singing into microphones\" width=\"1920\" height=\"1372\" class=\"size-full wp-image-13913144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Bobby.Mcferrin.stage_-1536x1098.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">McFerrin sings at a recent ‘Circlesongs’ performance at Freight & Salvage in Berkeley. \u003ccite>(Courtesy Freight & Salvage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Democratic Principles at Play\u003c/h2>\n\u003cp>I’m usually wary, as a secular Jew in a Christain society, of any whiff of organized religion. But to become part of McFerrin’s communal canvas is to come as close to a religious experience as I’ve ever had. \u003cem>Circlesongs\u003c/em> unsettles the distinction between the spiritual and the secular: it all comes full circle.\u003c/p>\n\u003cp>If you’re not “wow-ed” or easily moved, you’ll definitely learn something. McFerrin often tells stories about his father, Robert McFerrin Sr., who was the first African American to sing at the Metropolitan Opera. As he tells it, “I used to hide under the piano as a kid. And so I heard some of his voice lessons.”\u003c/p>\n\u003cp>When he described these lessons to me, they sounded painstakingly detailed. But “Papa would take a mediocre singer and turn them into a really fine instrument.” With \u003cem>Circlesongs\u003c/em>, McFerrin revises his father’s method by making play the most powerful pedagogy, teaching us that we are in fact our own best teachers.\u003c/p>\n\u003cp>Though singing collectively is an ancient practice, McFerrin’s \u003cem>Circlesongs\u003c/em> gives it new meaning today. “I’ve been thinking a lot about musicians’ role during this time,” he told me, “the political unrest that’s going on in the world, on the planet. The threats to our everyday lives and the role that singing can have.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because we’ve spent the past five years fearing the rise of fascism, and the last two terrified of each other’s breath, \u003cem>Circlesongs\u003c/em> is paean to the democratic principle of shared air. The performance reminded me of the etymological meaning of inspiration: to allow yourself to be breathed into. Even though the audience is vaccinated and masked, it’s still the first time—in a long time—where everyone laughing and singing around me felt less like a burden and more like a blessing. \u003c/p>\n\u003cp>Thus, McFerrin’s \u003cem>Circlesongs\u003c/em> offers play as not just an aesthetics but a politics, a way not of escaping the problems of the world but a way of shaping them. “This might sound really naïve,” he says “but the first thing the politicians should do is sing. Talk later. They should first become acquainted with each other’s songs and dances and rituals.” Singing for him is not simply a celebration of victory nor a palliative for defeat, but a practice, something you do to instantiate change in the world everyday.\u003c/p>\n\u003cp>It’s no coincidence, then, that the show starts at 12pm. People are hungry for incorporating improvisation into their daily lives, and \u003cem>Circlesongs\u003c/em> offers that nourishment weekly. If you can make it, but especially if you can’t, pay attention to the last thing you said—because every breath has the potential to take flight into song. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bobby McFerrin performs ‘Circlesongs’ each Monday, at noon, at Freight & Salvage in Berkeley. \u003ca href=\"https://secure.thefreight.org/events/466,10848?view=list&hidedate&kid=shows&startdate=2022-04-11\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kendrick's Most Important Song That No One's Talking About",
"headTitle": "Kendrick’s Most Important Song That No One’s Talking About | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith Kendrick Lamar about to drop his fifth studio album, \u003ci>Mr. Morale and the Big Steppers\u003c/i>, it’s the perfect time to argue about his most significant song.\u003c/p>\n\u003cp>In the half decade since Kendrick dropped \u003cem>Damn\u003c/em>, fans have been left to revisit old tracks repeatedly during his hiatus. Which is fitting, because one of Kendrick Lamar’s greatest gifts is going back and revisiting—or rather, revising—his earlier music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>K-dot is a master of retelling the same story again and again, but on a larger level each time. If you listen closely, the arc of his musical output shows that refining and retelling your story, over and over, is an important aspect of growth, both as an artist and a human.\u003c/p>\n\u003cp>The king MC from Compton has done it with his “The Heart” series, often using that title as a jumpoff to spaz and let loose on the issues he’s dealing with at the time of recording. He dropped the fifth entry in this series this past Sunday just days before his full album release, as he’s done in the past. (In the video, he uses deepfake technology to morph into the likeness of Kobe, Nipsey and more.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/uAPUkgeiFVY\u003c/p>\n\u003cp>He’s also revisited, or remixed, “She Needs Me,” “P&P,” and “Vanity Slaves,” among others. Which in art, especially in hip-hop, isn’t new, revolutionary, deep, or profound. Old art gets remixed everyday, B.\u003c/p>\n\u003cp>But the act of revising and revisiting, expanding and expounding on a piece of art—it’s seen more often in other mediums. Poets famously revisit concepts, as do comedians. Thelonious Monk reportedly wrote the jazz standard “\u003ca href=\"https://www.npr.org/2000/11/20/1114262/npr-100-i-round-midnight-i\" target=\"_blank\" rel=\"noopener noreferrer\">Round Midnight\u003c/a>” as a teen, and played thousands of renditions of it his whole life. Issa Rae created her idea of an awkward Black girl first as \u003ca href=\"https://youtu.be/nIVa9lxkbus\" target=\"_blank\" rel=\"noopener noreferrer\">a YouTube series\u003c/a>, and from that came \u003ca href=\"https://www.simonandschuster.com/books/The-Misadventures-of-Awkward-Black-Girl/Issa-Rae/9781476749099\" target=\"_blank\" rel=\"noopener noreferrer\">a bestselling memoir\u003c/a>, the hit show \u003cem>\u003ca href=\"https://www.kqed.org/pop/40693/how-issa-raes-insecure-is-leading-a-quiet-revolution-in-television\" target=\"_blank\" rel=\"noopener noreferrer\">Insecure\u003c/a>\u003c/em> and more.\u003c/p>\n\u003cp>Kendrick, too, has managed to work and rework one specific concept, and we’ve watched it grow from a couple of lines, to a song, to a concept album and signature aspect of his artwork.\u003c/p>\n\u003cp>So let’s be clear: I’m here to tell you why the track “Average Joe,” from Kendrick Lamar’s 2010 \u003cem>Overly Dedicated\u003c/em> \u003cem>EP\u003c/em>, is his most important song.\u003c/p>\n\u003cfigure id=\"attachment_13913174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg\" alt=\"A young Black man holds an analog camera in the photo pit of a large arena event.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar attends the 2018 BET Experience Concert at L.A. Live on June 22, 2018 in Los Angeles, California. \u003ccite>(Ser Baffo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>o, it’s not his highest charting song (“Humble”), nor his most famous (“Alright”). It’s not the one that gets the party turnt (“Michael Jordan”). I’m not taking away from his collaborations with Bono or Beyoncé, and definitely not the voice of Tupac Shakur (“Mortal Man”) or the song that President Obama said was the best song of 2015 (“How Much a Dollar Cost”).\u003c/p>\n\u003cp>Kenny’s catalog boasts songs with Travis and Drake that have been played so many times it’d be torture to hear them again. The Black Hippy tracks are dope, and despite his impending departure from their shared record label, Top Dawg Entertainment, I hope we get more collaborations from him and Ab-Soul, Jay Rock and Schoolboy Q. (Hell, even if we just get \u003ca href=\"https://youtu.be/Z-48u_uWMHY?t=130\" target=\"_blank\" rel=\"noopener noreferrer\">that song from the opening of the “Alright” video\u003c/a>, I’d be happy.)\u003c/p>\n\u003cp>Kendrick’s career is decorated with honors and accolades, from executive-producing the \u003cem>Black Panther\u003c/em> soundtrack to performing at this year’s Dr. Dre-led Super Bowl halftime performance. I mean, the guy won a freaking Pulitzer for \u003cem>DAMN\u003c/em>—a Pulitzer for \u003cem>spitting rhymes\u003c/em>—did we even know that was possible?\u003c/p>\n\u003cp>[aside postID='arts_13865026']And even in failure, like losing a Grammy to \u003ca href=\"https://www.gawker.com/macklemore-is-a-ho-bag-1509862810\" target=\"_blank\" rel=\"noopener noreferrer\">some white guy from Seattle\u003c/a>, Kendrick won our hearts—and proved why the act of reworking your craft is important.\u003c/p>\n\u003cp>On the novel-like album \u003cem>Good Kid, M.A.A.D City\u003c/em>, Kendrick is a bystander exploring the dichotomy of good and evil in his community, using clever lyrics recited over drums that punch like Kimbo Slice.\u003c/p>\n\u003cp>He describes his transformation as an outside observer on the track “m.A.A.D City”:\u003c/p>\n\u003cp>\u003cem>Seen a light-skinned nigga with his brains blown out\u003cbr>\nAt the same burger stand where (redacted) hangs out\u003cbr>\nNow, this is not a tape recorder saying that he did it\u003cbr>\nBut ever since that day, I was lookin’ at him different\u003c/em>\u003c/p>\n\u003cp>And then, later in the song, he gets pulled into this world of sinister behavior:\u003c/p>\n\u003cp>\u003cem>My pops said I needed a job, I thought I believed him\u003cbr>\nSecurity guard for a month and ended up leavin’\u003cbr>\nIn fact, I got fired, ’cause I was inspired by all of my friends\u003cbr>\nTo stage a robbery the third Saturday I clocked in\u003c/em>\u003c/p>\n\u003cp>Kendrick, a neutral narrator who gets influenced by his associates, has been this guy for some time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EjKlzdnoBGg\u003c/p>\n\u003cp>In his self-titled song “Kendrick Lamar,” a 2012 track where he drops the moniker K-Dot to go by his given name, he says:\u003c/p>\n\u003cp>\u003cem>I’m just a good kid from Compton that want to rap\u003cbr>\nWeighing my options, pick up a Bible or a strap?\u003cbr>\nI never killed a man, never sold any crack\u003cbr>\nAll I ever did was try to keep my city on the map\u003c/em>\u003c/p>\n\u003cp>It’s these four bars, above, that underscore a philosophy further explored in 2012’s \u003cem>Good Kid m.A.A.D City\u003c/em>, and brought to visual life in \u003ca href=\"https://i.discogs.com/IisP10nUmJmiyxaAtenOChe3Ng5Q56YzMneN6GopVQQ/rs:fit/g:sm/q:90/h:600/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTMzNjkw/NDItMTU4NjA5MTUx/OC03NzYyLmpwZWc.jpeg\" target=\"_blank\" rel=\"noopener noreferrer\">the cover art for his \u003cem>Section 80\u003c/em> mixtape\u003c/a>. But before the idea shows up in album form, it’s “\u003ca href=\"https://www.youtube.com/watch?v=0jHV0HxQQGw\" target=\"_blank\" rel=\"noopener noreferrer\">Average Joe\u003c/a>” where Mr. Duckworth explains the same concept in the earliest, most vivid colors.\u003c/p>\n\u003cp>Kendrick opens the song by saying “The hardest thing for me to do / Is to get you to know me within 16 bars.” He then does just that, illustrating his position of being gang-adjacent, a good kid who’s just trying to rap but is still getting caught up in the life:\u003c/p>\n\u003cp>[aside postID='arts_10886808']\u003cem>Everyone I knew was either Crip or Piru\u003c/em>\u003cbr>\n\u003cem>Cousins in elementary, relatives in high school\u003c/em>\u003cbr>\n\u003cem>With that being said, each one of their rivals\u003c/em>\u003cbr>\n\u003cem>Was aiming something at my head, I needed survival\u003c/em>\u003cbr>\n\u003cem>Got jumped, got jacked, shot at, shot back\u003c/em>\u003cbr>\n\u003cem>And I don’t even push a line, I’m just tryna push these rhymes\u003c/em>\u003cbr>\n\u003cem>In the midst of staying neutral and discreet\u003c/em>\u003cbr>\n\u003cem>My momma said you’re judged by the company you keep\u003c/em>\u003c/p>\n\u003cp>In a nutshell, this is Kendrick’s story; the premise of his entire career.\u003c/p>\n\u003cp>“This is why they fuck with me,” goes the chorus, twice, before Kendrick says, “I’m no gangster, no killer, I’m just your average Joe (know that) / But one thing you should consider, I’m the realest you know.”\u003c/p>\n\u003cp>Boom. That’s it. He’s an authentic person who’s telling his story, and growing as he does. He hones this theme through poetically energetic slick storytelling, a mix of Iceberg Slim, Gil Scott-Heron, DMX and Rass Kass, but yeah: Kendrick’s formula really is that simple.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11057865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/11/Kendrick.Meline.jpg\" alt=\"Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>‘ve followed Kendrick’s work since before 2011, when he \u003ca href=\"https://www.youtube.com/watch?v=-cIQe2iaQRk\" target=\"_blank\" rel=\"noopener noreferrer\">performed at the New Parish in Oakland\u003c/a>—still the only time I’ve seen him perform. The first song I ever heard from him was “Heaven or Hell,” a track about the drastic dichotomies in life. Again, the same theme of good and evil, and him standing as an honest observer in the midst of it all.\u003c/p>\n\u003cp>Now on the verge of releasing \u003cem>Mr. Morale & the Big Steppers,\u003c/em> the Gemini MC is bracing us for more stories about the polarizing aspects of life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Looking at his catalog, there’s a lesson on the importance of revising, reworking and retelling our stories of growth. No, I’m not saying you too can be Kendrick Lamar—there’s only one big-eared Pulitzer Prize winning lyricist from Hub City. But we can all work and rework ourselves, and our stories. Word to Average Joe.\u003c/p>\n\n",
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"excerpt": "An early track by Kendrick Lamar provides the secret origin for his gift of revisiting familiar themes, writes Pendarvis Harshaw.",
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"description": "An early track by Kendrick Lamar provides the secret origin for his gift of revisiting familiar themes, writes Pendarvis Harshaw.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>ith Kendrick Lamar about to drop his fifth studio album, \u003ci>Mr. Morale and the Big Steppers\u003c/i>, it’s the perfect time to argue about his most significant song.\u003c/p>\n\u003cp>In the half decade since Kendrick dropped \u003cem>Damn\u003c/em>, fans have been left to revisit old tracks repeatedly during his hiatus. Which is fitting, because one of Kendrick Lamar’s greatest gifts is going back and revisiting—or rather, revising—his earlier music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>K-dot is a master of retelling the same story again and again, but on a larger level each time. If you listen closely, the arc of his musical output shows that refining and retelling your story, over and over, is an important aspect of growth, both as an artist and a human.\u003c/p>\n\u003cp>The king MC from Compton has done it with his “The Heart” series, often using that title as a jumpoff to spaz and let loose on the issues he’s dealing with at the time of recording. He dropped the fifth entry in this series this past Sunday just days before his full album release, as he’s done in the past. (In the video, he uses deepfake technology to morph into the likeness of Kobe, Nipsey and more.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uAPUkgeiFVY'\n title='//www.youtube.com/embed/uAPUkgeiFVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also revisited, or remixed, “She Needs Me,” “P&P,” and “Vanity Slaves,” among others. Which in art, especially in hip-hop, isn’t new, revolutionary, deep, or profound. Old art gets remixed everyday, B.\u003c/p>\n\u003cp>But the act of revising and revisiting, expanding and expounding on a piece of art—it’s seen more often in other mediums. Poets famously revisit concepts, as do comedians. Thelonious Monk reportedly wrote the jazz standard “\u003ca href=\"https://www.npr.org/2000/11/20/1114262/npr-100-i-round-midnight-i\" target=\"_blank\" rel=\"noopener noreferrer\">Round Midnight\u003c/a>” as a teen, and played thousands of renditions of it his whole life. Issa Rae created her idea of an awkward Black girl first as \u003ca href=\"https://youtu.be/nIVa9lxkbus\" target=\"_blank\" rel=\"noopener noreferrer\">a YouTube series\u003c/a>, and from that came \u003ca href=\"https://www.simonandschuster.com/books/The-Misadventures-of-Awkward-Black-Girl/Issa-Rae/9781476749099\" target=\"_blank\" rel=\"noopener noreferrer\">a bestselling memoir\u003c/a>, the hit show \u003cem>\u003ca href=\"https://www.kqed.org/pop/40693/how-issa-raes-insecure-is-leading-a-quiet-revolution-in-television\" target=\"_blank\" rel=\"noopener noreferrer\">Insecure\u003c/a>\u003c/em> and more.\u003c/p>\n\u003cp>Kendrick, too, has managed to work and rework one specific concept, and we’ve watched it grow from a couple of lines, to a song, to a concept album and signature aspect of his artwork.\u003c/p>\n\u003cp>So let’s be clear: I’m here to tell you why the track “Average Joe,” from Kendrick Lamar’s 2010 \u003cem>Overly Dedicated\u003c/em> \u003cem>EP\u003c/em>, is his most important song.\u003c/p>\n\u003cfigure id=\"attachment_13913174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913174\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg\" alt=\"A young Black man holds an analog camera in the photo pit of a large arena event.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Kendrick.2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar attends the 2018 BET Experience Concert at L.A. Live on June 22, 2018 in Los Angeles, California. \u003ccite>(Ser Baffo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>o, it’s not his highest charting song (“Humble”), nor his most famous (“Alright”). It’s not the one that gets the party turnt (“Michael Jordan”). I’m not taking away from his collaborations with Bono or Beyoncé, and definitely not the voice of Tupac Shakur (“Mortal Man”) or the song that President Obama said was the best song of 2015 (“How Much a Dollar Cost”).\u003c/p>\n\u003cp>Kenny’s catalog boasts songs with Travis and Drake that have been played so many times it’d be torture to hear them again. The Black Hippy tracks are dope, and despite his impending departure from their shared record label, Top Dawg Entertainment, I hope we get more collaborations from him and Ab-Soul, Jay Rock and Schoolboy Q. (Hell, even if we just get \u003ca href=\"https://youtu.be/Z-48u_uWMHY?t=130\" target=\"_blank\" rel=\"noopener noreferrer\">that song from the opening of the “Alright” video\u003c/a>, I’d be happy.)\u003c/p>\n\u003cp>Kendrick’s career is decorated with honors and accolades, from executive-producing the \u003cem>Black Panther\u003c/em> soundtrack to performing at this year’s Dr. Dre-led Super Bowl halftime performance. I mean, the guy won a freaking Pulitzer for \u003cem>DAMN\u003c/em>—a Pulitzer for \u003cem>spitting rhymes\u003c/em>—did we even know that was possible?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even in failure, like losing a Grammy to \u003ca href=\"https://www.gawker.com/macklemore-is-a-ho-bag-1509862810\" target=\"_blank\" rel=\"noopener noreferrer\">some white guy from Seattle\u003c/a>, Kendrick won our hearts—and proved why the act of reworking your craft is important.\u003c/p>\n\u003cp>On the novel-like album \u003cem>Good Kid, M.A.A.D City\u003c/em>, Kendrick is a bystander exploring the dichotomy of good and evil in his community, using clever lyrics recited over drums that punch like Kimbo Slice.\u003c/p>\n\u003cp>He describes his transformation as an outside observer on the track “m.A.A.D City”:\u003c/p>\n\u003cp>\u003cem>Seen a light-skinned nigga with his brains blown out\u003cbr>\nAt the same burger stand where (redacted) hangs out\u003cbr>\nNow, this is not a tape recorder saying that he did it\u003cbr>\nBut ever since that day, I was lookin’ at him different\u003c/em>\u003c/p>\n\u003cp>And then, later in the song, he gets pulled into this world of sinister behavior:\u003c/p>\n\u003cp>\u003cem>My pops said I needed a job, I thought I believed him\u003cbr>\nSecurity guard for a month and ended up leavin’\u003cbr>\nIn fact, I got fired, ’cause I was inspired by all of my friends\u003cbr>\nTo stage a robbery the third Saturday I clocked in\u003c/em>\u003c/p>\n\u003cp>Kendrick, a neutral narrator who gets influenced by his associates, has been this guy for some time.\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/EjKlzdnoBGg'\n title='//www.youtube.com/embed/EjKlzdnoBGg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his self-titled song “Kendrick Lamar,” a 2012 track where he drops the moniker K-Dot to go by his given name, he says:\u003c/p>\n\u003cp>\u003cem>I’m just a good kid from Compton that want to rap\u003cbr>\nWeighing my options, pick up a Bible or a strap?\u003cbr>\nI never killed a man, never sold any crack\u003cbr>\nAll I ever did was try to keep my city on the map\u003c/em>\u003c/p>\n\u003cp>It’s these four bars, above, that underscore a philosophy further explored in 2012’s \u003cem>Good Kid m.A.A.D City\u003c/em>, and brought to visual life in \u003ca href=\"https://i.discogs.com/IisP10nUmJmiyxaAtenOChe3Ng5Q56YzMneN6GopVQQ/rs:fit/g:sm/q:90/h:600/w:600/czM6Ly9kaXNjb2dz/LWRhdGFiYXNlLWlt/YWdlcy9SLTMzNjkw/NDItMTU4NjA5MTUx/OC03NzYyLmpwZWc.jpeg\" target=\"_blank\" rel=\"noopener noreferrer\">the cover art for his \u003cem>Section 80\u003c/em> mixtape\u003c/a>. But before the idea shows up in album form, it’s “\u003ca href=\"https://www.youtube.com/watch?v=0jHV0HxQQGw\" target=\"_blank\" rel=\"noopener noreferrer\">Average Joe\u003c/a>” where Mr. Duckworth explains the same concept in the earliest, most vivid colors.\u003c/p>\n\u003cp>Kendrick opens the song by saying “The hardest thing for me to do / Is to get you to know me within 16 bars.” He then does just that, illustrating his position of being gang-adjacent, a good kid who’s just trying to rap but is still getting caught up in the life:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Everyone I knew was either Crip or Piru\u003c/em>\u003cbr>\n\u003cem>Cousins in elementary, relatives in high school\u003c/em>\u003cbr>\n\u003cem>With that being said, each one of their rivals\u003c/em>\u003cbr>\n\u003cem>Was aiming something at my head, I needed survival\u003c/em>\u003cbr>\n\u003cem>Got jumped, got jacked, shot at, shot back\u003c/em>\u003cbr>\n\u003cem>And I don’t even push a line, I’m just tryna push these rhymes\u003c/em>\u003cbr>\n\u003cem>In the midst of staying neutral and discreet\u003c/em>\u003cbr>\n\u003cem>My momma said you’re judged by the company you keep\u003c/em>\u003c/p>\n\u003cp>In a nutshell, this is Kendrick’s story; the premise of his entire career.\u003c/p>\n\u003cp>“This is why they fuck with me,” goes the chorus, twice, before Kendrick says, “I’m no gangster, no killer, I’m just your average Joe (know that) / But one thing you should consider, I’m the realest you know.”\u003c/p>\n\u003cp>Boom. That’s it. He’s an authentic person who’s telling his story, and growing as he does. He hones this theme through poetically energetic slick storytelling, a mix of Iceberg Slim, Gil Scott-Heron, DMX and Rass Kass, but yeah: Kendrick’s formula really is that simple.\u003c/p>\n\u003cfigure id=\"attachment_11057865\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11057865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/11/Kendrick.Meline.jpg\" alt=\"Kendrick Lamar performs at Outside Lands, Aug. 8, 2015. (Photo: Gabe Meline/KQED)\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Kendrick.Meline-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>‘ve followed Kendrick’s work since before 2011, when he \u003ca href=\"https://www.youtube.com/watch?v=-cIQe2iaQRk\" target=\"_blank\" rel=\"noopener noreferrer\">performed at the New Parish in Oakland\u003c/a>—still the only time I’ve seen him perform. The first song I ever heard from him was “Heaven or Hell,” a track about the drastic dichotomies in life. Again, the same theme of good and evil, and him standing as an honest observer in the midst of it all.\u003c/p>\n\u003cp>Now on the verge of releasing \u003cem>Mr. Morale & the Big Steppers,\u003c/em> the Gemini MC is bracing us for more stories about the polarizing aspects of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking at his catalog, there’s a lesson on the importance of revising, reworking and retelling our stories of growth. No, I’m not saying you too can be Kendrick Lamar—there’s only one big-eared Pulitzer Prize winning lyricist from Hub City. But we can all work and rework ourselves, and our stories. Word to Average Joe.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. [aside postid='arts_11884077']\u003c/p>\n\u003cp>“The last seven years, personally, were a huge period of both growth and change for me, and I was definitely focused on other aspects of my life (aside from music), and I honestly felt out of practice and out of touch in some ways,” says Tupou. “Signing with them has helped me get back on the horse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"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.",
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"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>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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