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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>\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>\u003c/p>\u003c/div>",
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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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"title": "‘Punk/Performance in the ’Loin’ is as Chaotic as the Scene it Seeks to Document",
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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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"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",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>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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"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>Some 300 young musicians from around the country are in New York for Jazz at Lincoln Center’s annual \u003ca href=\"https://2022.jazz.org/essentially-ellington\" target=\"_blank\" rel=\"noopener noreferrer\">Essentially Ellington High School Jazz Band Competition and Festival\u003c/a>. They’re attending workshops and jam sessions, meeting professional musicians and competing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/skylartang_/\" target=\"_blank\" rel=\"noopener noreferrer\">Skylar Tang\u003c/a>, 16, has already won her award. The Bay Area trumpet player is the winner of the Dr. J. Douglas White Composition and Arranging Contest, an honor bestowed on an original composition written and arranged for big bands by a high school student.\u003c/p>\n\u003cp>https://www.instagram.com/p/CWsM-YLpVz2/\u003c/p>\n\u003cp>Tang said the vibe of her winning piece, \u003cem>Kaleidoscope,\u003c/em> is kind of “frantic,” a bit like her life right now. “There’s a lot of stress in the tune. I go to school. I have assessments and tests. Maybe that has something to do with it,” she said.\u003c/p>\n\u003cp>It took her about seven months to create her work. Composing for big band is “quite a process,” Tang said. As a result of her win, she’ll receive $1,000 and a composing and arranging lesson with Grammy winner and longtime Jazz at Lincoln Center Orchestra member, Ted Nash. The orchestra also recorded Tang’s piece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To determine the winner, Nash listened for “several factors like the strength of their thematic material, their harmony, their use of the instruments, the overall feeling of the music.”\u003c/p>\n\u003cp>[aside postID='arts_13912562,arts_13912656,arts_13912364']Tang’s entry was remarkable for its maturity, Nash said. “You have the melody, you have solos, you have backgrounds, you have a development, sometimes we call it a ‘shout chorus,'” he said. “She has all of these important elements in the piece, but it’s deeply personal as well.”\u003c/p>\n\u003cp>Nash is thrilled that students have come from all over the country to participate in the Essentially Ellington Festival. “We’ve gone through a period where people weren’t that interested in big bands,” he said.\u003c/p>\n\u003cp>Nash credited Wynton Marsalis, managing and artistic Director of Jazz at Lincoln Center, with reversing that trend by “understanding the importance of having an orchestral vision and orchestral voice in jazz.”\u003c/p>\n\u003cp>Tang said she’s inspired by all kinds of music from different time periods, videos of which she devours on the internet. Her training began with classical piano when she was a little girl; she started playing in her school jazz bands in sixth grade. She said she “absolutely loves” trumpet player Roy Hargrove and admires contemporary artists like pianist Aaron Parks and drummers and composers Terri Lynne Carrington and Kendrick Scott Oracle.\u003c/p>\n\u003cp>https://www.instagram.com/p/CLUztcrhQRh/\u003c/p>\n\u003cp>During quarantine, Tang learned how to make split screen videos to share her cover arrangements online. In her \u003ca href=\"https://www.youtube.com/watch?v=ol6qzbhEEic\" target=\"_blank\" rel=\"noopener noreferrer\">cover\u003c/a> of \u003cem>Do You Wanna Do Nothing With Me\u003c/em> by Lawrence, she plays trumpet, guitar, drums and keyboards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s what I love about music. It’s about creating. It’s about expressing yourself and it’s about innovation,” she said.\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=Who+says+big+band+jazz+is+for+old+people%3F+Not+this+teenage+composer.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During quarantine, Tang learned how to make split screen videos to share her cover arrangements online. In her \u003ca href=\"https://www.youtube.com/watch?v=ol6qzbhEEic\" target=\"_blank\" rel=\"noopener noreferrer\">cover\u003c/a> of \u003cem>Do You Wanna Do Nothing With Me\u003c/em> by Lawrence, she plays trumpet, guitar, drums and keyboards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s what I love about music. It’s about creating. It’s about expressing yourself and it’s about innovation,” she said.\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=Who+says+big+band+jazz+is+for+old+people%3F+Not+this+teenage+composer.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Thinking of a master plan\u003cbr>\nAin’t nothin’ but sweat inside my hands\u003cbr>\nSo I dig into my pocket, all my money is spent\u003cbr>\nSo I dig deeper but still comin’ up with lint\u003c/em>\u003c/p>\n\u003cp>What an opening stanza. Poetry. \u003cem>Broke\u003c/em> poetry.\u003c/p>\n\u003cp>That’s the song “\u003ca href=\"https://www.youtube.com/watch?v=E7t8eoA_1jQ\" rel=\"noopener noreferrer\" target=\"_blank\">Paid in Full\u003c/a>,” by Eric B. & Rakim—and, despite its stature as a work of literary prowess, it wasn’t taken seriously as such when it was released in 1985. Hip-hop had yet to become enshrined as literature. That’d take another 20 years or so. \u003c/p>\n\u003cp>[aside postID='forum_2010101888845']Enter this year’s \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>, running May 7 and 8, where it’s clear the perception of hip-hop has changed. Among the dozens of authors at the festival, you’ll find Danyel Smith, who grew up among the beats and rhymes of Oakland’s hip-hop scene, and whose latest book is \u003cem>Shine Bright: A Very Personal History of Black Women in Pop\u003c/em>.\u003c/p>\n\u003cp>Making a special appearance, too, is Hanif Abdurraqib, who wrote \u003ca href=\"https://www.kqed.org/arts/13857192/celebrating-a-tribe-called-quests-midnight-marauders\" rel=\"noopener noreferrer\" target=\"_blank\">one of the all-time great pieces of prose about hip-hop\u003c/a> with \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em>; his latest is \u003cem>A Little Devil in America: Notes in Praise of Black Performance\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From what I’ve gleaned by reading these authors’ work, both conversations are sure to expand the conventions of a typical author talk. Along with dozens of other authors, including San Francisco staples like Rebecca Solnit and David Talbot, the Bay Area Book Festival runs Saturday and Sunday, May 7 and 8, at various venues in downtown Berkeley and online. \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Full schedule and details here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Enter this year’s \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Area Book Festival\u003c/a>, running May 7 and 8, where it’s clear the perception of hip-hop has changed. Among the dozens of authors at the festival, you’ll find Danyel Smith, who grew up among the beats and rhymes of Oakland’s hip-hop scene, and whose latest book is \u003cem>Shine Bright: A Very Personal History of Black Women in Pop\u003c/em>.\u003c/p>\n\u003cp>Making a special appearance, too, is Hanif Abdurraqib, who wrote \u003ca href=\"https://www.kqed.org/arts/13857192/celebrating-a-tribe-called-quests-midnight-marauders\" rel=\"noopener noreferrer\" target=\"_blank\">one of the all-time great pieces of prose about hip-hop\u003c/a> with \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em>; his latest is \u003cem>A Little Devil in America: Notes in Praise of Black Performance\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From what I’ve gleaned by reading these authors’ work, both conversations are sure to expand the conventions of a typical author talk. Along with dozens of other authors, including San Francisco staples like Rebecca Solnit and David Talbot, the Bay Area Book Festival runs Saturday and Sunday, May 7 and 8, at various venues in downtown Berkeley and online. \u003ca href=\"https://www.baybookfest.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Full schedule and details here\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Try the Pie’s ‘New Dust’ Contemplates Beauty In a Season of Loss",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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. \u003c/p>\u003c/div>",
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"content": "\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. [aside postid='arts_13881132']\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. [aside postid='arts_13842227']\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. [aside postid='forum_2010101883054']\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>[pullquote citation='Jamal Trulove, The Bay Apes founder' size='large']‘If Ethereum’s not going anywhere, we’re not going anywhere either.’[/pullquote]\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcyRTKsPRzR/\u003c/p>\n\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” [aside postid='arts_13897823']\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://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>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcYl5ZUvsER/\u003c/p>\n\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>[pullquote citation='Darrel Lideros, The Bay Apes investor' size='large']\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’[/pullquote]\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” [aside postid='arts_13906950']\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Jamal Trulove’s NFT collection advertises real-life perks. But there are many unknowns in his ambitious venture.",
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"title": "Bay Apes NFTs Promise Exclusive Club Membership. Will They Deliver? | KQED",
"description": "Jamal Trulove’s NFT collection advertises real-life perks. But there are many unknowns in his ambitious venture.",
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"headline": "Bay Apes NFTs Promise Exclusive Club Membership. Will They Deliver?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://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>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Meet The Flannels, a Teenage Band Making Jazz Feel Like a Party",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> It’s \u003ca href=\"https://www.kqed.org/youthtakeover\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Youth Takeover week\u003c/a>. From April 25-29, we’re featuring stories by high school students from around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Squeezing through a crowd of high school students at one of \u003ca href=\"https://www.instagram.com/theffflannels/\" target=\"_blank\" rel=\"noopener noreferrer\">The Flannels\u003c/a>’ backyard shows, listeners are in for a multi-medium artistic treat.\u003c/p>\n\u003cp>Here, an attendee might dance the night away, invigorated by the band’s buoyant, bouncy jazz-funk sound, or comb through the curated collection of art for sale, all in the same backyard.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13912576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/morris-photo-small-1.jpg\" alt=\"\" width=\"180\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1-160x177.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>Whether it’s the handmade jackets, the oil paintings, the music or simply the chance to be a part of something fun, there’s something for everybody at a Flannels show.\u003c/p>\n\u003cp>To me, jazz has always had an enigmatic aura of inaccessibility. The genre conjures up memories of having to put on a nice shirt to go to Yoshi’s in Jack London Square with my dad, sipping a watery Shirley Temple and trying to understand the appeal of music with no words.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s not the case with The Flannels.\u003c/p>\n\u003cfigure id=\"attachment_13912570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FF-28-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Flannels have goals of playing bigger stages, but for now they’re having fun throwing DIY events like their backyard party on March 25. \u003ccite>(Julian Currier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flannels are an ensemble mostly made up of students from Oakland School for the Arts. They’ve played shows at \u003ca href=\"https://www.instagram.com/oaklandstylelab/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Style Lab\u003c/a>, a creative hub for youth artists in downtown Oakland, as well as in band members’ backyards. Most recently, they made their club debut when they opened for Tatiana & Treetop Band at \u003ca href=\"http://www.amadossf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amado’s\u003c/a> in San Francisco on April 16. These welcoming, everyone’s-invited kinds of events help make jazz less intimidating and more appealing to the entry-level listener.\u003c/p>\n\u003cp>“It really just felt like a high school party,” says The Flannels’ trumpet player, Iona Kambouridis, about the band’s backyard show on March 25. Not in the sense of a movie-esque rager, she explains, but more like a kickback in the park.\u003c/p>\n\u003cp>While most folks in attendance seemed to be between 15 and 18 years old, concertgoers ranged in age from preteens to the host’s senior-citizen neighbors who happened to stop by.\u003c/p>\n\u003cp>The group began playing summer gigs together, and after clicking, they decided to make it official by forming The Flannels. Coming from similar musical backgrounds, each member was introduced to music early in life by passionate parents. Miles Turk, the band’s drummer, recalls falling in love with live music while watching his father, the pianist \u003ca href=\"https://talent.entireproductions.com/talent/john-turk\" target=\"_blank\" rel=\"noopener noreferrer\">John Turk\u003c/a>, perform.\u003c/p>\n\u003cp>“I would go with him to gigs,” Turk says. “I would see him do what he do. Seeing someone in their element, for real, they love it.”\u003c/p>\n\u003cp>Turk acknowledges the importance, too, of having dedicated music teachers and mentors. “Those people that really love you, and put in that effort for you, they believe in you—that’s huge for any kid,” he says.\u003c/p>\n\u003cp>As for what’s next, the band is looking to expand—both eccentrically and exponentially. Guitarist Vincent Maclauchlan breaks down the group’s goals: “We want to play bigger venues, that’s definitely the goal. You know, just bigger and better things. A backyard is cool, but how about 400 in an established venue?” [aside postid='arts_13912364']\u003c/p>\n\u003cp>But even as the band pursues lofty goals like playing bigger stages and hitting the recording studio, The Flannels are still committed to the kinds of community events that make their performances so fun and free-spirited. “An idea I had was getting together a skate jam, and having a skating competition,” Blackwell says, “as well as selling art and having a music show.”\u003c/p>\n\u003cp>It’s all in concordance with the Flannels’ unpretentious approach to jazz. After all, the band has a successful track record of turning seemingly fanciful ideas into reality.\u003c/p>\n\u003cp>As Blackwell puts it, “I’m like, ‘Bro, what if I could throw this crazy party where there are two bands playing, and five artists selling art?’… And then it actually happens.”\u003c/p>\n\u003cp>The Flannels came up with their band name on a whim, and deny that it holds any profound significance. But their name perfectly encapsulates their do-it-yourself, down-to-earth vibe synonymous with an oversized plaid flannel shirt. And it’s a vibe that is not always associated with jazz music.\u003c/p>\n\u003cp>The Flannels’ laid-back atmosphere is definitely intentional. “I want to build community with music,” says Blackwell. “And as much as I think the black-tie thing is sort of cool, I think it’s more important to bring a group of people together.”\u003c/p>\n\u003cp>Presuming the Flannels continue on their upward trend—hosting shows that break triple-digit audience numbers and congregating young artists—then Blackwell may be onto something. In fact, the group’s approachable vibe could lay the foundations for a whole new generation to make its mark on jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Morris Hayes is a student journalist born and raised in Oakland, California. He attends Skyline High School.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> It’s \u003ca href=\"https://www.kqed.org/youthtakeover\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Youth Takeover week\u003c/a>. From April 25-29, we’re featuring stories by high school students from around the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Squeezing through a crowd of high school students at one of \u003ca href=\"https://www.instagram.com/theffflannels/\" target=\"_blank\" rel=\"noopener noreferrer\">The Flannels\u003c/a>’ backyard shows, listeners are in for a multi-medium artistic treat.\u003c/p>\n\u003cp>Here, an attendee might dance the night away, invigorated by the band’s buoyant, bouncy jazz-funk sound, or comb through the curated collection of art for sale, all in the same backyard.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13912576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/morris-photo-small-1.jpg\" alt=\"\" width=\"180\" height=\"199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/morris-photo-small-1-160x177.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>Whether it’s the handmade jackets, the oil paintings, the music or simply the chance to be a part of something fun, there’s something for everybody at a Flannels show.\u003c/p>\n\u003cp>To me, jazz has always had an enigmatic aura of inaccessibility. The genre conjures up memories of having to put on a nice shirt to go to Yoshi’s in Jack London Square with my dad, sipping a watery Shirley Temple and trying to understand the appeal of music with no words.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case with The Flannels.\u003c/p>\n\u003cfigure id=\"attachment_13912570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/FF-28-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/FF-28-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Flannels have goals of playing bigger stages, but for now they’re having fun throwing DIY events like their backyard party on March 25. \u003ccite>(Julian Currier)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Flannels are an ensemble mostly made up of students from Oakland School for the Arts. They’ve played shows at \u003ca href=\"https://www.instagram.com/oaklandstylelab/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Style Lab\u003c/a>, a creative hub for youth artists in downtown Oakland, as well as in band members’ backyards. Most recently, they made their club debut when they opened for Tatiana & Treetop Band at \u003ca href=\"http://www.amadossf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Amado’s\u003c/a> in San Francisco on April 16. These welcoming, everyone’s-invited kinds of events help make jazz less intimidating and more appealing to the entry-level listener.\u003c/p>\n\u003cp>“It really just felt like a high school party,” says The Flannels’ trumpet player, Iona Kambouridis, about the band’s backyard show on March 25. Not in the sense of a movie-esque rager, she explains, but more like a kickback in the park.\u003c/p>\n\u003cp>While most folks in attendance seemed to be between 15 and 18 years old, concertgoers ranged in age from preteens to the host’s senior-citizen neighbors who happened to stop by.\u003c/p>\n\u003cp>The group began playing summer gigs together, and after clicking, they decided to make it official by forming The Flannels. Coming from similar musical backgrounds, each member was introduced to music early in life by passionate parents. Miles Turk, the band’s drummer, recalls falling in love with live music while watching his father, the pianist \u003ca href=\"https://talent.entireproductions.com/talent/john-turk\" target=\"_blank\" rel=\"noopener noreferrer\">John Turk\u003c/a>, perform.\u003c/p>\n\u003cp>“I would go with him to gigs,” Turk says. “I would see him do what he do. Seeing someone in their element, for real, they love it.”\u003c/p>\n\u003cp>Turk acknowledges the importance, too, of having dedicated music teachers and mentors. “Those people that really love you, and put in that effort for you, they believe in you—that’s huge for any kid,” he says.\u003c/p>\n\u003cp>As for what’s next, the band is looking to expand—both eccentrically and exponentially. Guitarist Vincent Maclauchlan breaks down the group’s goals: “We want to play bigger venues, that’s definitely the goal. You know, just bigger and better things. A backyard is cool, but how about 400 in an established venue?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But even as the band pursues lofty goals like playing bigger stages and hitting the recording studio, The Flannels are still committed to the kinds of community events that make their performances so fun and free-spirited. “An idea I had was getting together a skate jam, and having a skating competition,” Blackwell says, “as well as selling art and having a music show.”\u003c/p>\n\u003cp>It’s all in concordance with the Flannels’ unpretentious approach to jazz. After all, the band has a successful track record of turning seemingly fanciful ideas into reality.\u003c/p>\n\u003cp>As Blackwell puts it, “I’m like, ‘Bro, what if I could throw this crazy party where there are two bands playing, and five artists selling art?’… And then it actually happens.”\u003c/p>\n\u003cp>The Flannels came up with their band name on a whim, and deny that it holds any profound significance. But their name perfectly encapsulates their do-it-yourself, down-to-earth vibe synonymous with an oversized plaid flannel shirt. And it’s a vibe that is not always associated with jazz music.\u003c/p>\n\u003cp>The Flannels’ laid-back atmosphere is definitely intentional. “I want to build community with music,” says Blackwell. “And as much as I think the black-tie thing is sort of cool, I think it’s more important to bring a group of people together.”\u003c/p>\n\u003cp>Presuming the Flannels continue on their upward trend—hosting shows that break triple-digit audience numbers and congregating young artists—then Blackwell may be onto something. In fact, the group’s approachable vibe could lay the foundations for a whole new generation to make its mark on jazz.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Morris Hayes is a student journalist born and raised in Oakland, California. He attends Skyline High School.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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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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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "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": {
"id": "reveal",
"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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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
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