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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"title": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan",
"headTitle": "Meet 23-Year-Old Caleborate, the East Bay’s Next Rap Titan | KQED",
"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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"title": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan | KQED",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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