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"title": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza?",
"headTitle": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza? | KQED",
"content": "\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Clark, an extensively published poet and biographer, died after being struck by a car Friday night in Berkeley, the Alameda County coroner’s office confirmed. He was 77. \u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyside.com/2018/08/18/tom-clark-renowned-poet-and-biographer-dies-in-north-berkeley-traffic-collision\">Berkeleyside reported\u003c/a> that Clark was crossing The Alameda at Marin Avenue in North Berkeley when the collision occurred. A Berkeley police spokesperson told the news outlet that the driver, a 59-year-old Richmond man, is cooperating with the investigation, and that the motorist didn’t appear to be impaired by drugs or alcohol. \u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.poetryfoundation.org/poets/tom-clark\">Poetry Foundation biography\u003c/a>, Clark wrote dozens of books of poetry and multiple novels and story collections, plus biographies of literary figures such as Jack Kerouac and Robert Creeley. Between 1963 and 1973 Clark was poetry editor of esteemed literary publication \u003cem>Paris Review\u003c/em>, and his criticism appeared in outlets including the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>New York Times\u003c/em>. \u003c/p>\n\u003cp>“Tom Clark, the lyric imp of American poetry, has delivered many decades’ worth of goofy, melancholic, cosmic, playful, and wiggy poems,” wrote Billy Collins, poet laureate of the United States from 2001 to 2003, in a review of one of Clark’s final books of poetry, \u003cem>Light & Shade\u003c/em>. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.poets.org/poetsorg/poet/tom-clark\">Academy of American poets\u003c/a>, Clark was born March 1, 1941 in Chicago, Illinois, and worked as a young man at Wrigley Field and Comiskey Park, observing mid-century sports figures that he’d later reference in poems and prose. Clark attended John Carroll University in Ohio and then the University of Michigan before studying at Cambridge University in England, where he met and hitchhiked across Europe with Allen Ginsberg. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Clark’s poems ranged across many subjects and styles,” reads the Poetry Foundation biography, describing his work as “topical, political, and engaged with American experience.” Reviewing a 1992 book of poetry, \u003cem>Chronicle\u003c/em> critic Joel Lewis called Clark “one of American poetry’s most consistent and constant chroniclers of our long sleepwalk to parts unknown.”\u003c/p>\n\u003cp>He is survived by his wife of 40 years, Angelica Heinegg. Together they maintained a blog, \u003ca href=\"http://tomclarkblog.blogspot.com/\">Beyond the Pale\u003c/a>. It was updated the day Clark died with a post about refugees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clark was honored with fellowships and awards from organizations including the Guggenheim Foundation, the Rockefeller Foundation, and the National Endowment for the Arts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Clark, an extensively published poet and biographer, died after being struck by a car Friday night in Berkeley, the Alameda County coroner’s office confirmed. He was 77. \u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyside.com/2018/08/18/tom-clark-renowned-poet-and-biographer-dies-in-north-berkeley-traffic-collision\">Berkeleyside reported\u003c/a> that Clark was crossing The Alameda at Marin Avenue in North Berkeley when the collision occurred. A Berkeley police spokesperson told the news outlet that the driver, a 59-year-old Richmond man, is cooperating with the investigation, and that the motorist didn’t appear to be impaired by drugs or alcohol. \u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.poetryfoundation.org/poets/tom-clark\">Poetry Foundation biography\u003c/a>, Clark wrote dozens of books of poetry and multiple novels and story collections, plus biographies of literary figures such as Jack Kerouac and Robert Creeley. Between 1963 and 1973 Clark was poetry editor of esteemed literary publication \u003cem>Paris Review\u003c/em>, and his criticism appeared in outlets including the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>New York Times\u003c/em>. \u003c/p>\n\u003cp>“Tom Clark, the lyric imp of American poetry, has delivered many decades’ worth of goofy, melancholic, cosmic, playful, and wiggy poems,” wrote Billy Collins, poet laureate of the United States from 2001 to 2003, in a review of one of Clark’s final books of poetry, \u003cem>Light & Shade\u003c/em>. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.poets.org/poetsorg/poet/tom-clark\">Academy of American poets\u003c/a>, Clark was born March 1, 1941 in Chicago, Illinois, and worked as a young man at Wrigley Field and Comiskey Park, observing mid-century sports figures that he’d later reference in poems and prose. Clark attended John Carroll University in Ohio and then the University of Michigan before studying at Cambridge University in England, where he met and hitchhiked across Europe with Allen Ginsberg. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There’s no doubt that animation is big business. But a festival in Berkeley wants to showcase, and nurture, the artistry of indie animation. That’s the GLAS Fest — the Global Animation Syndicate Festival — featuring work from animators around the world.\u003c/p>\n\u003cp>The festival’s variety means you get feature films like \u003cem>The Lego Movie\u003c/em>, but also experimental shorts and international works. And if you’re an aspiring animator yourself, you’ll find plenty of behind-the-scenes programs about how animation studios work. There’ll even be representatives from Nickelodeon and Cartoon Network who can review your portfolio and give you direction on the spot.\u003c/p>\n\u003cp>But GLAS isn’t really a festival for kids. As festival director Jeanette Bonds says, “A lot of what we’re showing is not geared toward children. It’s much more adult-focused. These are serious films and serious filmmaking that happens to be animated.”\u003c/p>\n\u003cp>The GLAS Animation Festival is at six different venues in Berkeley. It runs March 22–25; \u003ca href=\"http://www.glasanimation.com/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no doubt that animation is big business. But a festival in Berkeley wants to showcase, and nurture, the artistry of indie animation. That’s the GLAS Fest — the Global Animation Syndicate Festival — featuring work from animators around the world.\u003c/p>\n\u003cp>The festival’s variety means you get feature films like \u003cem>The Lego Movie\u003c/em>, but also experimental shorts and international works. And if you’re an aspiring animator yourself, you’ll find plenty of behind-the-scenes programs about how animation studios work. There’ll even be representatives from Nickelodeon and Cartoon Network who can review your portfolio and give you direction on the spot.\u003c/p>\n\u003cp>But GLAS isn’t really a festival for kids. As festival director Jeanette Bonds says, “A lot of what we’re showing is not geared toward children. It’s much more adult-focused. These are serious films and serious filmmaking that happens to be animated.”\u003c/p>\n\u003cp>The GLAS Animation Festival is at six different venues in Berkeley. It runs March 22–25; \u003ca href=\"http://www.glasanimation.com/\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Berkeley Rapper Caleborate career began to take off in 2016, when his single “Options” hit big, with more than 1 million plays on Spotify. But as his new album \u003cem>Real Person\u003c/em> makes clear, Caleborate AKA Caleb Parker isn’t on an ego trip, even though our Senior Arts Editor Gabe Meline dubbed Caleborate “the East Bay’s next rap titan.” My co-host Jamedra Brown Fleischman and I decided our favorite song is “Caught Up,” about Caleborate’s troubled relationship with his dad. In it he sings:\u003c/p>\n\u003cblockquote>\u003cp>I’m just a byproduct of the pain I keep inside of\u003cbr>\nMy mind is always racing, but they ain’t no f***ing driver\u003cbr>\nMy heart is more cold than a pimp to a client\u003cbr>\n’cause I am not perfect, unlike God’s timing\u003cbr>\nI wanna do better, and I’m tryin’\u003c/p>\u003c/blockquote>\n\u003cp>Caleborate plays the The Cornerstone in Berkeley Feb. 22, and then he’s at The Atrium in Santa Cruz on Feb. 28. \u003ca href=\"https://www.facebook.com/thatblackkidthatraps/app/123966167614127/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z_02_aBCu_g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Kazuya Gojo’s square kites don’t \u003cem>look\u003c/em> like they should be able to fly. Made with bamboo and rice paper imported from Japan, the Hamamatsu tako (kite) takes hours to construct — each joint tied together with twine, every surface carefully painted.\u003c/p>\n\u003cp>Gojo was born in Hamamatsu, Japan, home to this particular style of kite-making, as well as a famous annual kite festival. Today, he works with the \u003ca href=\"http://takoageusa.org/homee.html\">International Association of Tako Age \u003c/a>to teach others the tradition, bringing Hamamatsu kites to the Berkeley Kite Festival and new generations of kite-lovers.\u003c/p>\n\u003cp>Kite-building is, by nature, an exercise in community building. As Gojo says, “Making kites takes lots of time by hand, so you need lots of hands.”\u003c/p>\n\u003cp>\u003cem>— Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan",
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"content": "\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6fAQlZECJ4\u003c/p>\n\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=83wOmk9yLPs\u003c/p>\n\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xnJBBsTO2OQ\u003c/p>\n\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \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/J6fAQlZECJ4'\n title='//www.youtube.com/embed/J6fAQlZECJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\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/83wOmk9yLPs'\n title='//www.youtube.com/embed/83wOmk9yLPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xnJBBsTO2OQ'\n title='//www.youtube.com/embed/xnJBBsTO2OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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