At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art
Watch 'Bay Area Street Dance' With Traci Bartlow, Lonnie 'PopTart' Green, Iron Lotus and More
A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined
A Month in Pursuit of Freedom
From Oakland to 'Black Girl Songbook,' Danyel Smith Stays True to the Town
'Tent City' a Probing Story of Oakland's Homelessness
Remembering the Time Tupac Shakur Sued the Oakland Police for $10 Million
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>The uneven power dynamics in hip-hop — and the music industry in general — are no secret: Mostly white executives enrich themselves from Black ingenuity, invest in the salacious and the sensational, and ignore the true diversity of the culture. That’s why, on a January Zoom call with the inaugural inductee class of the \u003ca href=\"https://microphonemechanics.com/bay-area-hip-hop-archives\">Bay Area Hip-Hop Archives\u003c/a>, Jahi implored: “Don’t leave your legacy to chance.”\u003c/p>\n\u003cp>Those in the virtual room included well-known figures like \u003ca href=\"https://www.instagram.com/suga_t_/\">Suga T\u003c/a> and \u003ca href=\"https://djdsharp.co/\">DJ D Sharp\u003c/a> of the Golden State Warriors. There was also \u003ca href=\"https://thembisamshaka.com/\">Thembisa Mshaka\u003c/a>, former editor of the influential industry magazine \u003ci>Gavin Report\u003c/i>; Helen Warren, mother of the late, great turntablist Pam the Funkstress; Black Panther-descended aerosol artist \u003ca href=\"http://www.refa1.com/\">Refa One\u003c/a>; rapper-turned-elementary educator \u003ca href=\"https://mysticworldwide.com/\">Mystic\u003c/a>; and others connected to hip-hop’s revolutionary core, who’ve helped build the culture in the Bay from the ground up. [aside postid='arts_13927349']\u003c/p>\n\u003cp>For archive curator Jahi, the time is right to preserve the Bay Area’s impact on hip-hop culture, which celebrates its 50th anniversary on Aug. 11, the day of \u003ca href=\"https://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party\">DJ Kool Herc’s fateful 1973 Bronx block party\u003c/a>. Not to mention that, in recent years, the Bay Area has seen the untimely passing of numerous hip-hop greats in their 40s and 50s. The loss of \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam the Funkstress\u003c/a>, Digital Underground frontman \u003ca href=\"https://www.kqed.org/arts/13896288/remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap\">Shock G\u003c/a>, Zion I’s \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi\u003c/a> and Blackalicious’ \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab\u003c/a> sent shockwaves of grief throughout the Bay Area. For Jahi’s generation, time is precious, and the creators of the culture feel an imperative to leave a record for posterity.\u003c/p>\n\u003cp>“When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop,” says Jahi with reverence. “And in 50 years, look what we’ve created.”\u003c/p>\n\u003cfigure id=\"attachment_13929194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg\" alt=\"Jahi wears a fedora and black suit while giving a speech on stage. \" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Hip-Hop Archives curator Jahi had a successful career as an MC before foraying into exhibitions, theater and legacy work. \u003ccite>(Courtesy of Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, hip-hop is now a multi-billion dollar industry with influence on Wall Street, the \u003ca href=\"https://www.paris2024.org/en/sport/breaking/\">2024 Olympics\u003c/a> and beyond. But it still remains a Black, working-class, grassroots culture that empowers, heals and politically mobilizes, an aspect that was front of mind for Jahi as he planned the archive, which is housed at the \u003ca href=\"https://oaklandlibrary.org/aamlo/\">African American Museum and Library at Oakland\u003c/a> (AAMLO).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since inducting the first Bay Area Hip-Hop Archives class of 15 honorees during Black History Month, Jahi has gathered 1,000 artifacts and counting from their personal collections, some of which will be on view at AAMLO’s Aug. 11 block party celebrating hip-hop’s 50th anniversary, with another viewing to come in February 2024. Concert flyers, setlists, photos, audio and video interviews are getting the “white-glove” museum treatment for future fans, artists and scholars to explore. Jahi is also hosting a \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator Night\u003c/a> with music and discussion at AAMLO on May 19, and is gearing up to announce the next 40 honorees on Juneteenth next month. [pullquote size='large' citation='Jahi, Bay Area Hip-Hop Archives curator']‘When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop. And in 50 years, look what we’ve created.’[/pullquote]\u003c/p>\n\u003cp>To create the archive, Jahi sought out a partnership with a Black-led institution, and he found the right collaborator in AAMLO and its Chief Curator Bamidele Agbasegbe-Demerson. Prior to the Bay Area Hip-Hop Archives’ launch, AAMLO already had close to 12,000 artifacts and documents chronicling Black life in Northern California, from the Gold Rush to the Black Panther Party. “So we’re joining their community,” Jahi says. “And when we’re done, we’ll probably have about ten or 12,000 pieces from the Bay Area Hip-Hop Archives. It’s a level up — in terms of preservation, protection and, most importantly, the opportunity for artists to tell their story in their own voices so they are not erased.”\u003c/p>\n\u003cp>Beyond artists, the Bay Area Hip-Hop Archives honors people who’ve played a crucial role in facilitating the local scene, such as promoter \u003ca href=\"https://ankhmarketing.com/\">Ankh Marketing\u003c/a>, which has produced community events and big-name concerts with Goapele and Erykah Badu alike, and \u003ca href=\"https://youtu.be/lkadOO6UuR0\">the Upper Room\u003c/a>, a substance-free gathering space for the San Francisco spoken word and alternative hip-hop scenes of the ’90s. Other inductees include MC and queer party producer \u003ca href=\"https://www.instagram.com/aimathedrmr/?hl=en\">Aima the Dreamer\u003c/a>; journalist, scholar and DJ \u003ca href=\"https://daveyd.com/\">Davey D\u003c/a> (who serves as an advisor on KQED’s \u003cem>That’s My Word\u003c/em>); dance historian and photographer \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>; \u003ca href=\"https://www.instagram.com/realdjkevykev/?hl=en\">DJ Kevy Kev\u003c/a>; the “Black Panther of hip-hop,” \u003ca href=\"https://www.guerrillafunk.com/paris\">Paris\u003c/a>; poet and educator \u003ca href=\"https://www.instagram.com/mrdavis510/?hl=en\">Hodari Davis\u003c/a>; and \u003ca href=\"https://www.instagram.com/phestohierosoul/?hl=en\">Phesto Dee\u003c/a> of Souls of Mischief.\u003c/p>\n\u003cp>https://youtu.be/uMqQgf__apQ\u003c/p>\n\u003cp>Jahi himself comes from the activist, alternative corner of hip-hop — what he refers to as the “socially conscious, mostly profanity-free, life-affirming lane.” He’s called Oakland home for 24 years, but he grew up DJing and freestyling in East Cleveland in the early ’80s. It was a turbulent time in American history, with the crack epidemic and rise of mass incarceration, and hip-hop offered him a sense of belonging and an artistic outlet. “All the rappers had perfect attendance, because we was always at school 30 minutes before school opened so we could battle,” says Jahi.\u003c/p>\n\u003cp>Jahi’s path into music was somewhat unconventional: He had a successful career at an educational nonprofit before embarking on a professional music career at 28 years old, in the late ’90s. Public Enemy’s Chuck D and KRS One gave him some of his first big opportunities, which led to a major-label album and a successful stint in Europe. He later founded the production company Microphone Mechanics, which has been his springboard into museum exhibitions, theater and, now, the archives.\u003c/p>\n\u003cp>Jahi has an inclusive vision of hip-hop, and isn’t about creating a dichotomy of street-versus-conscious, mainstream-versus-underground — nor is he into shaming or excluding practitioners of the art form who are different from him. Instead, he wants to celebrate the many styles and philosophies, the collective efforts, that have made the culture such a potent form of expression. “Hip-hop is a house with many rooms, and we’ve been in the sex, drugs, violence, pimp, hustler room,” he says. “It’s not the whole house.”\u003c/p>\n\u003cp>At the unveiling of the Bay Area Hip-Hop Archives in February, artists spoke of unity and pride. “We built this community,” said Mystic. “We built this when we had no models. We created magazines, we produced albums, we threw events. We created what the dream needed to be, and it was grounded in the radically loving and socially political foundation that is Oakland.” [aside postid='arts_13906176']\u003c/p>\n\u003cp>“Everybody likes to make us believe, especially as Black people, that our history is kind of happenstance. You know, Martin just kind of wrote a speech, and Malcolm just showed up,” said Davey D. “And that makes for a good story, it makes it sound like these individuals were superhuman, when in fact they put in a lot of work. They were very intentional, they were in the pocket, they thought about things. Even in hip-hop.”\u003c/p>\n\u003cp>As the mic was passed around, other inductees spoke of their hopes for the next 50 years of hip-hop culture as calls of “ashe” resounded throughout AAMLO’s high-ceilinged, marbled halls. “For the level of murder and violence that exists in our streets, what are we saying with this culture?” asked Refa One. “Is it more healing and food, or is it toxic? Because it could be either one. … It could be a weapon to liberate us, or one to put our people down. … It’s got to have that knowledge element. That fifth element is key.” [aside postid='arts_13923978']\u003c/p>\n\u003cp>For his part, Jahi has ambitious plans to invest in that fifth element. After the next group of Bay Area Hip-Hop Archives inductees are announced on Juneteenth, he’s planning on hosting Friday nights at OMCA throughout the month of August, curating talks, performances and screenings for hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>DJ Kool Herc’s foundational 1973 party was a back-to-school event. So in that spirit, AAMLO’s Aug. 11 block party will be a family-friendly affair hosted by \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">Dominique DiPrima\u003c/a>, with school supply giveaways, music by DJs Davey D, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black\u003c/a> and True Justice and an appearance from 12-year-old race car driver Cam-Man Races. The second class of the Archives will be formally inducted, and select items from the collections will be on view, with more to come next year.\u003c/p>\n\u003cp>And, of course, Jahi is busy documenting items and stories for the Bay Area Hip-Hop Archives, which he anticipates will be fully up and running in person and online in two to five years. He’s moving with intention, and already coming up with a succession plan and fundraising structure to keep the archives sustainable for generations to come.\u003c/p>\n\u003cp>“So a Black child that looks like me, that comes from the hood, can know that without anything other than sheer determination, you can make something happen,” Jahi says. “That’s what this legacy work is also about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Upcoming Events\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bay Area Hip-Hop Archives’ \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator night\u003c/a> takes place at the African American Museum and Library at Oakland on May 19, 5-7 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jahi curates \u003ca href=\"https://museumca.org/about-friday-nights-at-omca-with-off-the-grid/?utm_campaign=OMCA+friday&utm_source=g&utm_medium=g&utm_campaignid=17402932715&utm_adgroupid=143053530931&utm_adid=601813286558&utm_placement=g&utm_agency=gupta&gclid=CjwKCAjw04yjBhApEiwAJcvNoeLJe-Tq8pu1hXdxKKrMNMwIdyAT1TnduoOrcc2dy-Osklytg0t1rhoCP3QQAvD_BwE\">Friday Nights at the Oakland Museum of California\u003c/a> throughout the month of August. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features DJ sets by Jahi and Davey D, a meet-and-greet with race-car driver Cameron “Cam-Man” Carraway, a turfing dance class with Telice and an induction ceremony for the Bay Area Hip-Hop Archives. Destiny Muhammad plays Bay Area hip-hop on jazz harp on Aug. 18; and programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beatmaking activities led by Seti X of June Jordan School for Equity. KQED’s \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">If Cities Could Dance\u003c/a> series will screen on Aug. 4 and 11, and our video podcast \u003ca href=\"https://www.kqed.org/whatspimpin\">What’s Pimpin’?\u003c/a> screens on Aug. 18 and 25. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>The uneven power dynamics in hip-hop — and the music industry in general — are no secret: Mostly white executives enrich themselves from Black ingenuity, invest in the salacious and the sensational, and ignore the true diversity of the culture. That’s why, on a January Zoom call with the inaugural inductee class of the \u003ca href=\"https://microphonemechanics.com/bay-area-hip-hop-archives\">Bay Area Hip-Hop Archives\u003c/a>, Jahi implored: “Don’t leave your legacy to chance.”\u003c/p>\n\u003cp>Those in the virtual room included well-known figures like \u003ca href=\"https://www.instagram.com/suga_t_/\">Suga T\u003c/a> and \u003ca href=\"https://djdsharp.co/\">DJ D Sharp\u003c/a> of the Golden State Warriors. There was also \u003ca href=\"https://thembisamshaka.com/\">Thembisa Mshaka\u003c/a>, former editor of the influential industry magazine \u003ci>Gavin Report\u003c/i>; Helen Warren, mother of the late, great turntablist Pam the Funkstress; Black Panther-descended aerosol artist \u003ca href=\"http://www.refa1.com/\">Refa One\u003c/a>; rapper-turned-elementary educator \u003ca href=\"https://mysticworldwide.com/\">Mystic\u003c/a>; and others connected to hip-hop’s revolutionary core, who’ve helped build the culture in the Bay from the ground up. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For archive curator Jahi, the time is right to preserve the Bay Area’s impact on hip-hop culture, which celebrates its 50th anniversary on Aug. 11, the day of \u003ca href=\"https://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party\">DJ Kool Herc’s fateful 1973 Bronx block party\u003c/a>. Not to mention that, in recent years, the Bay Area has seen the untimely passing of numerous hip-hop greats in their 40s and 50s. The loss of \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam the Funkstress\u003c/a>, Digital Underground frontman \u003ca href=\"https://www.kqed.org/arts/13896288/remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap\">Shock G\u003c/a>, Zion I’s \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi\u003c/a> and Blackalicious’ \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab\u003c/a> sent shockwaves of grief throughout the Bay Area. For Jahi’s generation, time is precious, and the creators of the culture feel an imperative to leave a record for posterity.\u003c/p>\n\u003cp>“When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop,” says Jahi with reverence. “And in 50 years, look what we’ve created.”\u003c/p>\n\u003cfigure id=\"attachment_13929194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg\" alt=\"Jahi wears a fedora and black suit while giving a speech on stage. \" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Hip-Hop Archives curator Jahi had a successful career as an MC before foraying into exhibitions, theater and legacy work. \u003ccite>(Courtesy of Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, hip-hop is now a multi-billion dollar industry with influence on Wall Street, the \u003ca href=\"https://www.paris2024.org/en/sport/breaking/\">2024 Olympics\u003c/a> and beyond. But it still remains a Black, working-class, grassroots culture that empowers, heals and politically mobilizes, an aspect that was front of mind for Jahi as he planned the archive, which is housed at the \u003ca href=\"https://oaklandlibrary.org/aamlo/\">African American Museum and Library at Oakland\u003c/a> (AAMLO).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since inducting the first Bay Area Hip-Hop Archives class of 15 honorees during Black History Month, Jahi has gathered 1,000 artifacts and counting from their personal collections, some of which will be on view at AAMLO’s Aug. 11 block party celebrating hip-hop’s 50th anniversary, with another viewing to come in February 2024. Concert flyers, setlists, photos, audio and video interviews are getting the “white-glove” museum treatment for future fans, artists and scholars to explore. Jahi is also hosting a \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator Night\u003c/a> with music and discussion at AAMLO on May 19, and is gearing up to announce the next 40 honorees on Juneteenth next month. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To create the archive, Jahi sought out a partnership with a Black-led institution, and he found the right collaborator in AAMLO and its Chief Curator Bamidele Agbasegbe-Demerson. Prior to the Bay Area Hip-Hop Archives’ launch, AAMLO already had close to 12,000 artifacts and documents chronicling Black life in Northern California, from the Gold Rush to the Black Panther Party. “So we’re joining their community,” Jahi says. “And when we’re done, we’ll probably have about ten or 12,000 pieces from the Bay Area Hip-Hop Archives. It’s a level up — in terms of preservation, protection and, most importantly, the opportunity for artists to tell their story in their own voices so they are not erased.”\u003c/p>\n\u003cp>Beyond artists, the Bay Area Hip-Hop Archives honors people who’ve played a crucial role in facilitating the local scene, such as promoter \u003ca href=\"https://ankhmarketing.com/\">Ankh Marketing\u003c/a>, which has produced community events and big-name concerts with Goapele and Erykah Badu alike, and \u003ca href=\"https://youtu.be/lkadOO6UuR0\">the Upper Room\u003c/a>, a substance-free gathering space for the San Francisco spoken word and alternative hip-hop scenes of the ’90s. Other inductees include MC and queer party producer \u003ca href=\"https://www.instagram.com/aimathedrmr/?hl=en\">Aima the Dreamer\u003c/a>; journalist, scholar and DJ \u003ca href=\"https://daveyd.com/\">Davey D\u003c/a> (who serves as an advisor on KQED’s \u003cem>That’s My Word\u003c/em>); dance historian and photographer \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>; \u003ca href=\"https://www.instagram.com/realdjkevykev/?hl=en\">DJ Kevy Kev\u003c/a>; the “Black Panther of hip-hop,” \u003ca href=\"https://www.guerrillafunk.com/paris\">Paris\u003c/a>; poet and educator \u003ca href=\"https://www.instagram.com/mrdavis510/?hl=en\">Hodari Davis\u003c/a>; and \u003ca href=\"https://www.instagram.com/phestohierosoul/?hl=en\">Phesto Dee\u003c/a> of Souls of Mischief.\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/uMqQgf__apQ'\n title='//www.youtube.com/embed/uMqQgf__apQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jahi himself comes from the activist, alternative corner of hip-hop — what he refers to as the “socially conscious, mostly profanity-free, life-affirming lane.” He’s called Oakland home for 24 years, but he grew up DJing and freestyling in East Cleveland in the early ’80s. It was a turbulent time in American history, with the crack epidemic and rise of mass incarceration, and hip-hop offered him a sense of belonging and an artistic outlet. “All the rappers had perfect attendance, because we was always at school 30 minutes before school opened so we could battle,” says Jahi.\u003c/p>\n\u003cp>Jahi’s path into music was somewhat unconventional: He had a successful career at an educational nonprofit before embarking on a professional music career at 28 years old, in the late ’90s. Public Enemy’s Chuck D and KRS One gave him some of his first big opportunities, which led to a major-label album and a successful stint in Europe. He later founded the production company Microphone Mechanics, which has been his springboard into museum exhibitions, theater and, now, the archives.\u003c/p>\n\u003cp>Jahi has an inclusive vision of hip-hop, and isn’t about creating a dichotomy of street-versus-conscious, mainstream-versus-underground — nor is he into shaming or excluding practitioners of the art form who are different from him. Instead, he wants to celebrate the many styles and philosophies, the collective efforts, that have made the culture such a potent form of expression. “Hip-hop is a house with many rooms, and we’ve been in the sex, drugs, violence, pimp, hustler room,” he says. “It’s not the whole house.”\u003c/p>\n\u003cp>At the unveiling of the Bay Area Hip-Hop Archives in February, artists spoke of unity and pride. “We built this community,” said Mystic. “We built this when we had no models. We created magazines, we produced albums, we threw events. We created what the dream needed to be, and it was grounded in the radically loving and socially political foundation that is Oakland.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everybody likes to make us believe, especially as Black people, that our history is kind of happenstance. You know, Martin just kind of wrote a speech, and Malcolm just showed up,” said Davey D. “And that makes for a good story, it makes it sound like these individuals were superhuman, when in fact they put in a lot of work. They were very intentional, they were in the pocket, they thought about things. Even in hip-hop.”\u003c/p>\n\u003cp>As the mic was passed around, other inductees spoke of their hopes for the next 50 years of hip-hop culture as calls of “ashe” resounded throughout AAMLO’s high-ceilinged, marbled halls. “For the level of murder and violence that exists in our streets, what are we saying with this culture?” asked Refa One. “Is it more healing and food, or is it toxic? Because it could be either one. … It could be a weapon to liberate us, or one to put our people down. … It’s got to have that knowledge element. That fifth element is key.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For his part, Jahi has ambitious plans to invest in that fifth element. After the next group of Bay Area Hip-Hop Archives inductees are announced on Juneteenth, he’s planning on hosting Friday nights at OMCA throughout the month of August, curating talks, performances and screenings for hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>DJ Kool Herc’s foundational 1973 party was a back-to-school event. So in that spirit, AAMLO’s Aug. 11 block party will be a family-friendly affair hosted by \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">Dominique DiPrima\u003c/a>, with school supply giveaways, music by DJs Davey D, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black\u003c/a> and True Justice and an appearance from 12-year-old race car driver Cam-Man Races. The second class of the Archives will be formally inducted, and select items from the collections will be on view, with more to come next year.\u003c/p>\n\u003cp>And, of course, Jahi is busy documenting items and stories for the Bay Area Hip-Hop Archives, which he anticipates will be fully up and running in person and online in two to five years. He’s moving with intention, and already coming up with a succession plan and fundraising structure to keep the archives sustainable for generations to come.\u003c/p>\n\u003cp>“So a Black child that looks like me, that comes from the hood, can know that without anything other than sheer determination, you can make something happen,” Jahi says. “That’s what this legacy work is also about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Upcoming Events\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bay Area Hip-Hop Archives’ \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator night\u003c/a> takes place at the African American Museum and Library at Oakland on May 19, 5-7 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jahi curates \u003ca href=\"https://museumca.org/about-friday-nights-at-omca-with-off-the-grid/?utm_campaign=OMCA+friday&utm_source=g&utm_medium=g&utm_campaignid=17402932715&utm_adgroupid=143053530931&utm_adid=601813286558&utm_placement=g&utm_agency=gupta&gclid=CjwKCAjw04yjBhApEiwAJcvNoeLJe-Tq8pu1hXdxKKrMNMwIdyAT1TnduoOrcc2dy-Osklytg0t1rhoCP3QQAvD_BwE\">Friday Nights at the Oakland Museum of California\u003c/a> throughout the month of August. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features DJ sets by Jahi and Davey D, a meet-and-greet with race-car driver Cameron “Cam-Man” Carraway, a turfing dance class with Telice and an induction ceremony for the Bay Area Hip-Hop Archives. Destiny Muhammad plays Bay Area hip-hop on jazz harp on Aug. 18; and programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beatmaking activities led by Seti X of June Jordan School for Equity. KQED’s \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">If Cities Could Dance\u003c/a> series will screen on Aug. 4 and 11, and our video podcast \u003ca href=\"https://www.kqed.org/whatspimpin\">What’s Pimpin’?\u003c/a> screens on Aug. 18 and 25. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Feb. 2, a historic convergence of street dance practitioners took over KQED’s event space, The Commons, for a night of boogaloo, robotting, strutting, turfing and more.\u003c/p>\n\u003cp>The night featured original pioneers of Bay Area street dance, who defined urban youth culture before hip-hop had a name, as well as the next generation adding their own stylistic innovations.\u003c/p>\n\u003cp>Hosted by \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener\">\u003cem>Rightnowish\u003c/em>\u003c/a>’s Pendarvis Harshaw with additional MCing by Eric K. Arnold, the night included performances by \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>, \u003ca href=\"http://www.thestruttersroom.com/\">Lonnie “PopTart” Green\u003c/a>, \u003ca href=\"https://www.instagram.com/dat_nigga_dav/?hl=en\">Davin Ray “Davvybo” Packnett\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\">Ronski and Show Banga\u003c/a>, \u003ca href=\"https://www.ironlotus.dance/\">Iron Lotus\u003c/a>, and \u003ca href=\"https://www.daveyd.com/\">Davey D\u003c/a> on the ones and twos — as well as audience participation galore, including a “\u003ca href=\"https://californiarevealed.org/islandora/object/cavpp%3A22055\">Jay Payton Line\u003c/a>” at the end.\u003c/p>\n\u003cp>Watch it all unfold above (the action starts at \u003ca href=\"https://www.youtube.com/live/B7aexHse3pc?feature=share&t=1125\">18:45\u003c/a>) as part of our year-long exploration of Bay Area hip-hop, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003cem>That’s My Word\u003c/em>\u003c/a>, and keep your eye out for future \u003ca href=\"https://www.kqed.org/events\">KQED Live events\u003c/a>. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Feb. 2, a historic convergence of street dance practitioners took over KQED’s event space, The Commons, for a night of boogaloo, robotting, strutting, turfing and more.\u003c/p>\n\u003cp>The night featured original pioneers of Bay Area street dance, who defined urban youth culture before hip-hop had a name, as well as the next generation adding their own stylistic innovations.\u003c/p>\n\u003cp>Hosted by \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener\">\u003cem>Rightnowish\u003c/em>\u003c/a>’s Pendarvis Harshaw with additional MCing by Eric K. Arnold, the night included performances by \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>, \u003ca href=\"http://www.thestruttersroom.com/\">Lonnie “PopTart” Green\u003c/a>, \u003ca href=\"https://www.instagram.com/dat_nigga_dav/?hl=en\">Davin Ray “Davvybo” Packnett\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=g2J_xGPGHjI\">Ronski and Show Banga\u003c/a>, \u003ca href=\"https://www.ironlotus.dance/\">Iron Lotus\u003c/a>, and \u003ca href=\"https://www.daveyd.com/\">Davey D\u003c/a> on the ones and twos — as well as audience participation galore, including a “\u003ca href=\"https://californiarevealed.org/islandora/object/cavpp%3A22055\">Jay Payton Line\u003c/a>” at the end.\u003c/p>\n\u003cp>Watch it all unfold above (the action starts at \u003ca href=\"https://www.youtube.com/live/B7aexHse3pc?feature=share&t=1125\">18:45\u003c/a>) as part of our year-long exploration of Bay Area hip-hop, \u003ca href=\"https://www.kqed.org/bayareahiphop\">\u003cem>That’s My Word\u003c/em>\u003c/a>, and keep your eye out for future \u003ca href=\"https://www.kqed.org/events\">KQED Live events\u003c/a>. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Trip With Davey D Back to 1984, When Hip-Hop Was Still Undefined",
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"content": "\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dave “Davey D” Cook\u003c/a> is a cornerstone of hip-hop culture.\u003c/p>\n\u003cp>He currently co-hosts KPFA’s \u003ci>Hard Knock Radio\u003c/i> and serves as a professor of Africana studies at San Francisco State University, where he teaches popular courses on hip-hop and African American music. Working with historian Jeff Chang, Davey recently co-published the book \u003ci>Can’t Stop Won’t Stop: A History of the Hip-Hop Generation\u003c/i> (2021). (Both Davey and Jeff are advisors for KQED’s \u003ci>That’s My Word\u003c/i>.)\u003c/p>\n\u003cp>Davey D is a practitioner of the culture as well as a critic. Over the span of five decades, he’s been an MC, DJ, journalist, activist — the list goes on. He was at the heart of the \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener noreferrer\">fight against a corporate media takeover\u003c/a> of a San Francisco hip-hop radio station. He \u003ca href=\"https://hiphopandpolitics.wordpress.com/tag/oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">amplified the call for justice\u003c/a> in Oakland after Oscar Grant was killed by BART police officer Johannes Mehserle. And during a financial literacy conference in New York, Davey D conducted one of the first major interviews with the \u003ca href=\"https://youtu.be/GwG4A_OrTmk\" target=\"_blank\" rel=\"noopener noreferrer\">late, legendary Los Angeles lyricist Nipsey Hussle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1536x1205.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-2048x1606.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1920x1506.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave ‘Davey D’ Cook on stage with Dominique DiPrima at the Macy’s passport event in Oakland circa 1993. \u003ccite>(Courtesy of Davey D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from The Bronx, New York, Davey D was there when this thing we call hip-hop was in its nascent form, before it even had a name. When he arrived in the Bay Area in the early ’80s, one of his missions as a UC Berkeley student was to lend some insight to this burgeoning culture. So he put on a few events, one of which was The Day in Hip-Hop on Oct. 24, 1984.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Footage of The Day in Hip-hop shows dancers, rappers and DJs performing in front of a captive audience, as they get a crash course on what would eventually become the most popular music in the world. The films are housed in UC Berkeley’s archives. Fortunately, a few clips have been uploaded to YouTube by Jim Richards. With the 50th anniversary of hip-hop at the front of mind, I spoke to Davey D about what the culture was like back then and how far it has come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6878706120&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts from my conversation with Davey D.\u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/L_71XuDWzeE\u003c/p>\n\u003cp>\u003cb>PENDARVIS HARSHAW:\u003c/b> The objective of this interview is to talk about a video specifically from \u003ca href=\"https://www.youtube.com/watch?v=fOH_YgzQS7M\" target=\"_blank\" rel=\"noopener noreferrer\">1984 at UC Berkeley on Sproul Plaza\u003c/a> with you DJing. I saw the fresh cut, and you had your name on your shirt. It’s an early iteration of what hip-hop looks like in the Bay Area. It’s just a moving piece of footage. Can we talk through it while we watch it real quick?\u003c/p>\n\u003cp>\u003cb>DAVEY D:\u003c/b> So you got [the MCs] Commander C and Diamond D from Berkeley and Richmond. They were The Dazzling Two. And that graffiti that you see, that’s me.\u003c/p>\n\u003cp>\u003cb>You did the graffiti too?\u003c/b>\u003c/p>\n\u003cp>Yeah, I did the writing. I was never a graff artist, but I did do that. We were trying to do a showcase, and bring to the campus and celebrate this thing that was burgeoning. So what you see in the video is me, with a cut-off sweatshirt that has my name on it. You also see a guy named Patrick Norwood who is out of L.A. and was a good DJ. We had a crew called the New York/L.A. Connection because they were from L.A., and I was from New York. And we bought out some dancers. We brought out these artists. And it had to be several hundred people there watching as we did this thing. And it was just a day to remember, it was exciting. [pullquote align='right' size='medium' citation='Davey D']‘Hip-hop will [always] be a continuation of Black expression, it ain’t going nowhere.’[/pullquote]\u003c/p>\n\u003cp>When you look at it now, it’s kind of basic what we were doing. My scratches weren’t all that and the raps weren’t all that. But you know what? They were entertaining and could hold their own. I passed out a leaflet that explained what hip-hop was. They were on pink pieces of paper. And I think UC Berkeley filmed this as well, and they have it in their archives. We did another one several months later, and that one you actually have me rapping with a number of people. And we did an anti-apartheid song called “South Africa It’s Just a Matter of Time.”\u003c/p>\n\u003cp>Back in the day, I started out as an MC. I became a DJ when I moved out here. People just weren’t MCing like that when I first came out here. So I had more of an opportunity to do what I liked by DJing, versus getting on the mic and doing what the Dazzling Two were doing. I wonder whatever happened to them.\u003c/p>\n\u003cp>https://youtu.be/fOH_YgzQS7M\u003c/p>\n\u003cp>\u003cb>I’m watching the video, and the audience is kind of stunned. Sitting there, jaw dropped.\u003c/b>\u003c/p>\n\u003cp>They were watching because they hadn’t seen it. This was before the Fresh Fest [in December 1984, the first national hip-hop tour with Run D.M.C., Whodini and more]. So you didn’t really have performances like this. This was a treat for a lot of people. They might have seen something on a TV show, [or] \u003ci>Beat Street\u003c/i> the movie or something, but they hadn’t seen this up close and live. That’s why we wound up doing a second one. People were like, “Man, you all got to do that again.”\u003c/p>\n\u003cp>\u003cb>If we’re saying that the start of hip-hop was ’73, then 10 years later you have people rapping in French. And you have this spread to the West Coast.\u003c/b>\u003c/p>\n\u003cp>Well, that’s one way to look at it. Or the other way is to understand that Indigenous folks, and in this case when I say “Indigenous” I’m saying people that come from Black communities — you know, “the hood,” so to speak — we always had these expressions. And so hip-hop had two types of responses. If you talk to Commander C and Diamond from the Dazzling Two, and you tell them about rap, them being from [the East Bay], their response wouldn’t have been, “Oh wow, this is great. How do you do it?” Their response would have been more like, “Oh man, that sounds like something my uncle used to do.” Because there would be a reference point. “Oh man, it sounds like some hambone. That sounds like some pimp talk,” right? They’ve already seen people rhyming. They saw a \u003ci>Dolemite\u003c/i> movie. They had an uncle that would talk slick like that.\u003c/p>\n\u003cp>How [hip-hop] was packaged may have been new. Like, “Oh, I never thought to do it over beats like that.” But the concept wasn’t new. Then you have other people who’ve never seen anything like this. And their reference point then becomes, “What did I see on TV?” And if you’re telling me this is a New York thing, then I want to soak up everything that came out of New York. Whereas, I think a Richmond and Oakland cat was like, “This is good. I’m going to integrate this New York style with things that I’ve already done.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/5Qh4JQ3yYUFhaC8t49NZnx?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>So if you listen to those guys, to their credit, they didn’t try to sound like they were from New York. They still sound like some cat from Richmond in ’83, ’84. And I think that’s a testament to the Bay. [It] has its own identity… They didn’t feel like [they] needed to follow a prescribed path.\u003c/p>\n\u003cp>You have to understand that there’s no YouTube at the time. Most people never saw a video like this until years later. This wasn’t on Channel Two or ABC or anything like that. This was something that [you] had to be there [for]. So for a lot of folks, they hadn’t seen this whole package until that day… And that’s what made it special. And I think if you were there, what I recall was the energy. There was a vibe. And it was almost euphoric, especially once the dancers got on.\u003c/p>\n\u003cp>https://youtu.be/JrbBU_Mfi1s\u003c/p>\n\u003cp>\u003cb>The dancers turned it out. There’s a scene where the dancers line up. You think it’s about to start, and then they drop their pants and they have pants under their pants. And you see their uniforms, and it’s like, ‘Oh, it’s about to go down.’\u003c/b>\u003c/p>\n\u003cp>But you also got to remember, in the Bay dance expression has been around for a long time too. They’re doing breaking, right? But there was a Bay style of dance that is — big shout out to The Black Resurgents and The Messengers, and all those groups. The Black Resurgents just celebrated their 50th anniversary. They were doing the boogaloo, and they were strutting, and they were roboting. [aside postid='arts_13891300']\u003c/p>\n\u003cp>So these guys [on campus] were breaking, they weren’t doing Bay traditional dances, and we can get into why that was the case: Because [some of] those guys who came out of that dance era that actually predates hip-hop in New York had aged out. They were older, doing other things. And the fascination of hip-hop out of New York was really through the visuals of dance.\u003c/p>\n\u003cp>\u003cb>I should acknowledge the fact that the elements that are hip-hop were present even before 1973 in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>We’ve always danced. Percussion has always been our thing, right? Black people are the people of the drum. Native folks are people of the drum, so the drum is not foreign. And rhyming has been around for a very long time. Having all those elements put together in a package like that had not happened. So again, It’s not “either or,” it’s “both and.”\u003c/p>\n\u003cp>https://youtu.be/ALLGyes9MhA\u003c/p>\n\u003cp>\u003cb>One of the big things that jumped out at me about the video is that it’s at Sproul Plaza, and this is the home of the Free Speech Movement and anti-Vietnam War protests. Having this event at that same hallowed ground, does that bring some type of legitimacy? Legitimacy is a loaded word, but does it bring some weight to it?\u003c/b>\u003c/p>\n\u003cp>I don’t think people were thinking of it at that time. I certainly wasn’t. The reason we did it at Sproul Plaza was because that’s where all the Black folks hung out, the fraternities: the Alphas, who were probably the biggest one. And the Kappas, when they did their step shows, they did it on Sproul Plaza, right? Sproul Plaza is right there at the entry of the campus, so if you want to get maximum people, you’re going to do it on Sproul Plaza. The second one we did down in Zellerbach, but it wasn’t like, “Aw man, the Free Speech Movement happened here, let’s do it on Sproul Plaza.”\u003c/p>\n\u003cfigure id=\"attachment_13923986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png\" alt='Davey D explains this new thing called \"hip-hop\" in this one-sheeter from 1984.' width=\"800\" height=\"987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-1020x1258.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-160x197.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-768x947.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM.png 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davey D explains this new thing called “hip-hop” in this one-sheeter from 1984. \u003ccite>(Via Dave \"Davey D\" Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you said you passed out a flyer there.\u003c/b>\u003c/p>\n\u003cp>Not a flyer, but a piece of — it was an article that I wrote explaining what hip-hop was.\u003c/p>\n\u003cp>\u003cb>A one-sheeter, right?\u003c/b>\u003c/p>\n\u003cp>A one-sheeter, yeah.\u003c/p>\n\u003cp>\u003cb>Why would you need to pass on a one-sheeter explaining hip-hop?\u003c/b>\u003c/p>\n\u003cp>Because people didn’t know at that time, and you wanted to make sure they had it. What are you watching? Why are you watching this? So, again, for many people that was the first time they saw something live like that. We take it for granted now, but in 1984, you didn’t see that like that. There wasn’t no [hip-hop] block parties here. So this was the first time for a lot of people. And we wanted to make sure that they had an understanding.\u003c/p>\n\u003cp>My mom was mad because she said, “You didn’t put your name on it.” She’s like, “Put your name on it so people know that you wrote this, I don’t want nobody taking your stuff.” And I was like, “Nah, ma, they seen me pass it out.” But it became important because a lot of people did use that article. It showed up in the \u003ci>San Francisco Chronicle\u003c/i>. There were people that quoted from it and didn’t know where it came from. I seen it on websites years later, right? But, you know, it’s actually \u003ca href=\"https://www.daveyd.com/whatishipdav.html\" target=\"_blank\" rel=\"noopener noreferrer\">on my site now\u003c/a>. I was asked to write it for a magazine, so I rewrote that and added to it.\u003c/p>\n\u003cp>\u003cb>In the early days, how did hip-hop culture spread to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>It spread the same way that it does everywhere else where Black folks are. First, we have to ask the question: What parts of hip-hop? So you have to get a graff writer in here to break down how they were passing along secrets and understandings and cultural aesthetics. You know, somebody like \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>.\u003c/p>\n\u003cp>I think us as DJs, there’s a whole path that we took, right? … So I’ll give you an example: There was a guy named Quickie Kev who was on the campus, and I was the main DJ, but Quickie Kev came out of L.A. and he knew how to scratch. His scratch was picked up from [the radio station] KDAY. And at that time, they had a bunch of DJs on there. Tony G. Joe Cooley, right? So there was an “L.A. Fast Scratch,” that’s what we called it. And he picked that up, and he was vicious on it. So whenever he did a party, people were sitting around like, “Man, how do we do that?” So that became one way some of that trickery was passed along. Much of it was seeing somebody who had a skillset, and they would pick it up.\u003c/p>\n\u003cp>https://youtu.be/7bYXW4x7RXk\u003c/p>\n\u003cp>\u003cb>Was there a point in the late ’80s, early ’90s where you could pinpoint and say hip-hop had irreversibly established itself?\u003c/b>\u003c/p>\n\u003cp>When \u003ci>Beat Street\u003c/i> came out, I think there was no turning back. Shout out to Harry Belafonte and all those people who put it together. I know we had \u003ci>Krush Groove\u003c/i>, and \u003ci>Wild Style\u003c/i> had come out prior to that. But I think \u003ci>Beat Street\u003c/i> because it was such a mainstream thing, it was the one that was for people who grew up with that in New York — this was a validation. I think there was no turning back at that point.\u003c/p>\n\u003cp>I remember, I was at a place called the Promenade, which is next to Marble Hill Projects in the Bronx. And my crew was doing a party. And I remember sitting there like, “Wow, look at all these people here.” And I said, “I wonder if people around the world know what we’re doing.” This is incredible. It just hit me. And within two years time, “\u003ca href=\"https://www.npr.org/2000/12/29/1116242/rappers-delight\" target=\"_blank\" rel=\"noopener noreferrer\">Rapper’s Delight\u003c/a>” came out and that was irreversible there.\u003c/p>\n\u003cp>\u003cb>So, one more question on my end: 50 years from now, hip-hop is…?\u003c/b>\u003c/p>\n\u003cp>Hip-hop will be a continuation of Black expression, it ain’t going nowhere. We’re gonna stop singing and vocalizing ourselves? No. We gonna stop dancing? No. Are we going to have different rhythms? Absolutely. You can have a crunk beat, boom-bap beat, hyphy beat, underground lo-fi beat, jazzy beat, right? You can have those 808 beats, Miami bass beat. There’s like 50 different beats that you can find within hip-hop. There will be new beats 50 years from now. It might not be called hip-hop, but it’s still going to be here.\u003c/p>\n\u003cp>It will never leave because hip-hop at its core is the expression of people who want to build community with one another. Who want to lose themselves in other ways, to express themselves and not be limited to what society says is valid expression.\u003c/p>\n\u003cp>The key for us is, can we connect the past with the present? And can we connect the past and present to the future? That’s our job. So we’re here to open your mind, and as Black Moon would say, “get you open.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of Bay Area hip-hop history, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dave “Davey D” Cook\u003c/a> is a cornerstone of hip-hop culture.\u003c/p>\n\u003cp>He currently co-hosts KPFA’s \u003ci>Hard Knock Radio\u003c/i> and serves as a professor of Africana studies at San Francisco State University, where he teaches popular courses on hip-hop and African American music. Working with historian Jeff Chang, Davey recently co-published the book \u003ci>Can’t Stop Won’t Stop: A History of the Hip-Hop Generation\u003c/i> (2021). (Both Davey and Jeff are advisors for KQED’s \u003ci>That’s My Word\u003c/i>.)\u003c/p>\n\u003cp>Davey D is a practitioner of the culture as well as a critic. Over the span of five decades, he’s been an MC, DJ, journalist, activist — the list goes on. He was at the heart of the \u003ca href=\"http://www.daveyd.com/articleradiosucks.html\" target=\"_blank\" rel=\"noopener noreferrer\">fight against a corporate media takeover\u003c/a> of a San Francisco hip-hop radio station. He \u003ca href=\"https://hiphopandpolitics.wordpress.com/tag/oscar-grant/\" target=\"_blank\" rel=\"noopener noreferrer\">amplified the call for justice\u003c/a> in Oakland after Oscar Grant was killed by BART police officer Johannes Mehserle. And during a financial literacy conference in New York, Davey D conducted one of the first major interviews with the \u003ca href=\"https://youtu.be/GwG4A_OrTmk\" target=\"_blank\" rel=\"noopener noreferrer\">late, legendary Los Angeles lyricist Nipsey Hussle\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13923991\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png\" alt=\"\" width=\"800\" height=\"627\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-800x627.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1020x800.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-768x602.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1536x1205.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-2048x1606.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.21.56-AM-1920x1506.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave ‘Davey D’ Cook on stage with Dominique DiPrima at the Macy’s passport event in Oakland circa 1993. \u003ccite>(Courtesy of Davey D)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Originally from The Bronx, New York, Davey D was there when this thing we call hip-hop was in its nascent form, before it even had a name. When he arrived in the Bay Area in the early ’80s, one of his missions as a UC Berkeley student was to lend some insight to this burgeoning culture. So he put on a few events, one of which was The Day in Hip-Hop on Oct. 24, 1984.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Footage of The Day in Hip-hop shows dancers, rappers and DJs performing in front of a captive audience, as they get a crash course on what would eventually become the most popular music in the world. The films are housed in UC Berkeley’s archives. Fortunately, a few clips have been uploaded to YouTube by Jim Richards. With the 50th anniversary of hip-hop at the front of mind, I spoke to Davey D about what the culture was like back then and how far it has come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC6878706120&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts from my conversation with Davey D.\u003c/strong>\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/L_71XuDWzeE'\n title='//www.youtube.com/embed/L_71XuDWzeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>PENDARVIS HARSHAW:\u003c/b> The objective of this interview is to talk about a video specifically from \u003ca href=\"https://www.youtube.com/watch?v=fOH_YgzQS7M\" target=\"_blank\" rel=\"noopener noreferrer\">1984 at UC Berkeley on Sproul Plaza\u003c/a> with you DJing. I saw the fresh cut, and you had your name on your shirt. It’s an early iteration of what hip-hop looks like in the Bay Area. It’s just a moving piece of footage. Can we talk through it while we watch it real quick?\u003c/p>\n\u003cp>\u003cb>DAVEY D:\u003c/b> So you got [the MCs] Commander C and Diamond D from Berkeley and Richmond. They were The Dazzling Two. And that graffiti that you see, that’s me.\u003c/p>\n\u003cp>\u003cb>You did the graffiti too?\u003c/b>\u003c/p>\n\u003cp>Yeah, I did the writing. I was never a graff artist, but I did do that. We were trying to do a showcase, and bring to the campus and celebrate this thing that was burgeoning. So what you see in the video is me, with a cut-off sweatshirt that has my name on it. You also see a guy named Patrick Norwood who is out of L.A. and was a good DJ. We had a crew called the New York/L.A. Connection because they were from L.A., and I was from New York. And we bought out some dancers. We brought out these artists. And it had to be several hundred people there watching as we did this thing. And it was just a day to remember, it was exciting. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When you look at it now, it’s kind of basic what we were doing. My scratches weren’t all that and the raps weren’t all that. But you know what? They were entertaining and could hold their own. I passed out a leaflet that explained what hip-hop was. They were on pink pieces of paper. And I think UC Berkeley filmed this as well, and they have it in their archives. We did another one several months later, and that one you actually have me rapping with a number of people. And we did an anti-apartheid song called “South Africa It’s Just a Matter of Time.”\u003c/p>\n\u003cp>Back in the day, I started out as an MC. I became a DJ when I moved out here. People just weren’t MCing like that when I first came out here. So I had more of an opportunity to do what I liked by DJing, versus getting on the mic and doing what the Dazzling Two were doing. I wonder whatever happened to them.\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/fOH_YgzQS7M'\n title='//www.youtube.com/embed/fOH_YgzQS7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>I’m watching the video, and the audience is kind of stunned. Sitting there, jaw dropped.\u003c/b>\u003c/p>\n\u003cp>They were watching because they hadn’t seen it. This was before the Fresh Fest [in December 1984, the first national hip-hop tour with Run D.M.C., Whodini and more]. So you didn’t really have performances like this. This was a treat for a lot of people. They might have seen something on a TV show, [or] \u003ci>Beat Street\u003c/i> the movie or something, but they hadn’t seen this up close and live. That’s why we wound up doing a second one. People were like, “Man, you all got to do that again.”\u003c/p>\n\u003cp>\u003cb>If we’re saying that the start of hip-hop was ’73, then 10 years later you have people rapping in French. And you have this spread to the West Coast.\u003c/b>\u003c/p>\n\u003cp>Well, that’s one way to look at it. Or the other way is to understand that Indigenous folks, and in this case when I say “Indigenous” I’m saying people that come from Black communities — you know, “the hood,” so to speak — we always had these expressions. And so hip-hop had two types of responses. If you talk to Commander C and Diamond from the Dazzling Two, and you tell them about rap, them being from [the East Bay], their response wouldn’t have been, “Oh wow, this is great. How do you do it?” Their response would have been more like, “Oh man, that sounds like something my uncle used to do.” Because there would be a reference point. “Oh man, it sounds like some hambone. That sounds like some pimp talk,” right? They’ve already seen people rhyming. They saw a \u003ci>Dolemite\u003c/i> movie. They had an uncle that would talk slick like that.\u003c/p>\n\u003cp>How [hip-hop] was packaged may have been new. Like, “Oh, I never thought to do it over beats like that.” But the concept wasn’t new. Then you have other people who’ve never seen anything like this. And their reference point then becomes, “What did I see on TV?” And if you’re telling me this is a New York thing, then I want to soak up everything that came out of New York. Whereas, I think a Richmond and Oakland cat was like, “This is good. I’m going to integrate this New York style with things that I’ve already done.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/playlist/5Qh4JQ3yYUFhaC8t49NZnx?utm_source=generator\" width=\"100%\" height=\"352\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>So if you listen to those guys, to their credit, they didn’t try to sound like they were from New York. They still sound like some cat from Richmond in ’83, ’84. And I think that’s a testament to the Bay. [It] has its own identity… They didn’t feel like [they] needed to follow a prescribed path.\u003c/p>\n\u003cp>You have to understand that there’s no YouTube at the time. Most people never saw a video like this until years later. This wasn’t on Channel Two or ABC or anything like that. This was something that [you] had to be there [for]. So for a lot of folks, they hadn’t seen this whole package until that day… And that’s what made it special. And I think if you were there, what I recall was the energy. There was a vibe. And it was almost euphoric, especially once the dancers got on.\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/JrbBU_Mfi1s'\n title='//www.youtube.com/embed/JrbBU_Mfi1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>The dancers turned it out. There’s a scene where the dancers line up. You think it’s about to start, and then they drop their pants and they have pants under their pants. And you see their uniforms, and it’s like, ‘Oh, it’s about to go down.’\u003c/b>\u003c/p>\n\u003cp>But you also got to remember, in the Bay dance expression has been around for a long time too. They’re doing breaking, right? But there was a Bay style of dance that is — big shout out to The Black Resurgents and The Messengers, and all those groups. The Black Resurgents just celebrated their 50th anniversary. They were doing the boogaloo, and they were strutting, and they were roboting. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So these guys [on campus] were breaking, they weren’t doing Bay traditional dances, and we can get into why that was the case: Because [some of] those guys who came out of that dance era that actually predates hip-hop in New York had aged out. They were older, doing other things. And the fascination of hip-hop out of New York was really through the visuals of dance.\u003c/p>\n\u003cp>\u003cb>I should acknowledge the fact that the elements that are hip-hop were present even before 1973 in the Bay Area, right?\u003c/b>\u003c/p>\n\u003cp>We’ve always danced. Percussion has always been our thing, right? Black people are the people of the drum. Native folks are people of the drum, so the drum is not foreign. And rhyming has been around for a very long time. Having all those elements put together in a package like that had not happened. So again, It’s not “either or,” it’s “both and.”\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/ALLGyes9MhA'\n title='//www.youtube.com/embed/ALLGyes9MhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>One of the big things that jumped out at me about the video is that it’s at Sproul Plaza, and this is the home of the Free Speech Movement and anti-Vietnam War protests. Having this event at that same hallowed ground, does that bring some type of legitimacy? Legitimacy is a loaded word, but does it bring some weight to it?\u003c/b>\u003c/p>\n\u003cp>I don’t think people were thinking of it at that time. I certainly wasn’t. The reason we did it at Sproul Plaza was because that’s where all the Black folks hung out, the fraternities: the Alphas, who were probably the biggest one. And the Kappas, when they did their step shows, they did it on Sproul Plaza, right? Sproul Plaza is right there at the entry of the campus, so if you want to get maximum people, you’re going to do it on Sproul Plaza. The second one we did down in Zellerbach, but it wasn’t like, “Aw man, the Free Speech Movement happened here, let’s do it on Sproul Plaza.”\u003c/p>\n\u003cfigure id=\"attachment_13923986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png\" alt='Davey D explains this new thing called \"hip-hop\" in this one-sheeter from 1984.' width=\"800\" height=\"987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-800x987.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-1020x1258.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-160x197.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM-768x947.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screenshot-2022-12-05-at-11.16.13-AM.png 1218w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davey D explains this new thing called “hip-hop” in this one-sheeter from 1984. \u003ccite>(Via Dave \"Davey D\" Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>And you said you passed out a flyer there.\u003c/b>\u003c/p>\n\u003cp>Not a flyer, but a piece of — it was an article that I wrote explaining what hip-hop was.\u003c/p>\n\u003cp>\u003cb>A one-sheeter, right?\u003c/b>\u003c/p>\n\u003cp>A one-sheeter, yeah.\u003c/p>\n\u003cp>\u003cb>Why would you need to pass on a one-sheeter explaining hip-hop?\u003c/b>\u003c/p>\n\u003cp>Because people didn’t know at that time, and you wanted to make sure they had it. What are you watching? Why are you watching this? So, again, for many people that was the first time they saw something live like that. We take it for granted now, but in 1984, you didn’t see that like that. There wasn’t no [hip-hop] block parties here. So this was the first time for a lot of people. And we wanted to make sure that they had an understanding.\u003c/p>\n\u003cp>My mom was mad because she said, “You didn’t put your name on it.” She’s like, “Put your name on it so people know that you wrote this, I don’t want nobody taking your stuff.” And I was like, “Nah, ma, they seen me pass it out.” But it became important because a lot of people did use that article. It showed up in the \u003ci>San Francisco Chronicle\u003c/i>. There were people that quoted from it and didn’t know where it came from. I seen it on websites years later, right? But, you know, it’s actually \u003ca href=\"https://www.daveyd.com/whatishipdav.html\" target=\"_blank\" rel=\"noopener noreferrer\">on my site now\u003c/a>. I was asked to write it for a magazine, so I rewrote that and added to it.\u003c/p>\n\u003cp>\u003cb>In the early days, how did hip-hop culture spread to the Bay Area?\u003c/b>\u003c/p>\n\u003cp>It spread the same way that it does everywhere else where Black folks are. First, we have to ask the question: What parts of hip-hop? So you have to get a graff writer in here to break down how they were passing along secrets and understandings and cultural aesthetics. You know, somebody like \u003ca href=\"http://www.refa1.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Refa One\u003c/a>.\u003c/p>\n\u003cp>I think us as DJs, there’s a whole path that we took, right? … So I’ll give you an example: There was a guy named Quickie Kev who was on the campus, and I was the main DJ, but Quickie Kev came out of L.A. and he knew how to scratch. His scratch was picked up from [the radio station] KDAY. And at that time, they had a bunch of DJs on there. Tony G. Joe Cooley, right? So there was an “L.A. Fast Scratch,” that’s what we called it. And he picked that up, and he was vicious on it. So whenever he did a party, people were sitting around like, “Man, how do we do that?” So that became one way some of that trickery was passed along. Much of it was seeing somebody who had a skillset, and they would pick it up.\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/7bYXW4x7RXk'\n title='//www.youtube.com/embed/7bYXW4x7RXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Was there a point in the late ’80s, early ’90s where you could pinpoint and say hip-hop had irreversibly established itself?\u003c/b>\u003c/p>\n\u003cp>When \u003ci>Beat Street\u003c/i> came out, I think there was no turning back. Shout out to Harry Belafonte and all those people who put it together. I know we had \u003ci>Krush Groove\u003c/i>, and \u003ci>Wild Style\u003c/i> had come out prior to that. But I think \u003ci>Beat Street\u003c/i> because it was such a mainstream thing, it was the one that was for people who grew up with that in New York — this was a validation. I think there was no turning back at that point.\u003c/p>\n\u003cp>I remember, I was at a place called the Promenade, which is next to Marble Hill Projects in the Bronx. And my crew was doing a party. And I remember sitting there like, “Wow, look at all these people here.” And I said, “I wonder if people around the world know what we’re doing.” This is incredible. It just hit me. And within two years time, “\u003ca href=\"https://www.npr.org/2000/12/29/1116242/rappers-delight\" target=\"_blank\" rel=\"noopener noreferrer\">Rapper’s Delight\u003c/a>” came out and that was irreversible there.\u003c/p>\n\u003cp>\u003cb>So, one more question on my end: 50 years from now, hip-hop is…?\u003c/b>\u003c/p>\n\u003cp>Hip-hop will be a continuation of Black expression, it ain’t going nowhere. We’re gonna stop singing and vocalizing ourselves? No. We gonna stop dancing? No. Are we going to have different rhythms? Absolutely. You can have a crunk beat, boom-bap beat, hyphy beat, underground lo-fi beat, jazzy beat, right? You can have those 808 beats, Miami bass beat. There’s like 50 different beats that you can find within hip-hop. There will be new beats 50 years from now. It might not be called hip-hop, but it’s still going to be here.\u003c/p>\n\u003cp>It will never leave because hip-hop at its core is the expression of people who want to build community with one another. Who want to lose themselves in other ways, to express themselves and not be limited to what society says is valid expression.\u003c/p>\n\u003cp>The key for us is, can we connect the past with the present? And can we connect the past and present to the future? That’s our job. So we’re here to open your mind, and as Black Moon would say, “get you open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ugust 2021 was a lot. The return to in-class learning. The COVID vaccine debates. The massive fires, big earthquakes and huge storms. And the music. Thank the powers that be for the music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Kendrick Lamar dropped one verse and smoked your top five rappers, Kanye West took off that goofy red hat and dropped an album, Aaliyah’s discography finally became available on streaming platforms, and The Lox got their flowers.\u003c/p>\n\u003cp>In the Bay Area, meanwhile, music headlines were overshadowed by the unexplained series of events that led to the death of\u003ca href=\"https://www.kqed.org/arts/13901310/baba-zumbi-zion-i-dies\" target=\"_blank\" rel=\"noopener noreferrer\"> Zion I’s Baba Zumbi\u003c/a>.\u003c/p>\n\u003cp>I tested positive for COVID on the same day that Zumbi, a talented artist and friend who I’d seen two months prior at my best friend’s birthday party, was involved in a mysterious conflict at Alta Bates Hospital. While overcoming a case of COVID, Zumbi reportedly became involved in a physical altercation with hospital staff. Berkeley police responded. \u003ca href=\"https://www.kqed.org/arts/13901310/baba-zumbi-zion-i-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi ended up dead\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I spent a week-plus quarantining and staring at my phone—scrolling, contemplating current events and critically thinking about what it all means—you know, in the larger context of this “freedom” we’re all inherently pursuing.\u003c/p>\n\u003cp>Again, thank God for music.\u003c/p>\n\u003cp>“All my time has been focused on my freedom now,” says Ms. Lauryn Hill, opening her verse on the track “Nobody” from Nas’ latest project \u003ci>King’s Disease II\u003c/i>. The album, a follow up to Nas’ 2020 Grammy-winning \u003ci>King’s Disease\u003c/i>, dropped the first week of the month and quickly topped Billboard’s hip-hop charts.\u003c/p>\n\u003cp>Ms. Hill’s extended barrage of bars on “Nobody” are packed with quotable lines, but nothing spoke to me like the idea of spending every second engaged in the process of emancipation. “Focused on my freedom now.” What an idea. Now I can’t stop thinking: \u003ci>shit, I wanna spend my time focusing on my freedom, too\u003c/i>.\u003c/p>\n\u003cp>Unfortunately, in a lot of ways, my time is spent indirectly paying for continued oppression.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=234OiGtOvII\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>xactly 20 years ago, Nas was in a dispute with Jay-Z that would be well-documented in a Summer Jam performance, multiple interviews, and of course music—starting with Jay’s “The Takeover,” featured on Jay-Z’s album \u003ci>The Blueprint\u003c/i>, which dropped Sept. 11, 2001. We all know what else happened that day.\u003c/p>\n\u003cp>I was a first-year high school student, living in a small apartment in South Berkeley and attending the Athenian College Preparatory School, 45 minutes away in the town of Danville. A scholarship offered to me through the \u003ca href=\"https://www.abetterchance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A Better Chance\u003c/a> program landed me at school in one of the wealthiest places in the Bay Area.\u003c/p>\n\u003cp>Every morning I’d get on a big ‘ole Twinkie bus at Berkeley BART and pursue a \u003ci>better chance\u003c/i> of getting out of the hood, going to college, and eventually finding freedom. Between my taped-up Sony headphones and beneath my tightly wrapped durag, my big head bobbled on the back of the bus—I don’t know what I was bumping, but I can tell you that my brain was already brewing up ways to break bondage.\u003c/p>\n\u003cp>I wanted freedom. Economic freedom, specifically. I was told that academia was the way.\u003c/p>\n\u003cp>That first month of school, I got real familiar with the connection between my oppression locally and the oppression of people around the world.\u003c/p>\n\u003cp>[aside postID='arts_13901531']In response to how our friends and neighbors with roots in the Middle East were being treated post-9/11, I worked with my schoolmates, \u003ca href=\"https://www.instagram.com/amis_umi/\" target=\"_blank\" rel=\"noopener noreferrer\">Agzja Carey\u003c/a> and \u003ca href=\"https://www.linkedin.com/in/norah-alyami-5a385511/\" target=\"_blank\" rel=\"noopener noreferrer\">Norah Alyami\u003c/a>, to organize a rally in front of Oakland’s City Hall. The keynote speaker was \u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, a journalist I knew from his KMEL days, and who I’d grow to admire and even mimic in his ability to mix hip-hop, politics, and the fight for freedom into one conversation.\u003c/p>\n\u003cp>Two decades later, life has evolved. Davey is a person I can call with hard journalism questions—I literally did just a few days ago.\u003c/p>\n\u003cp>Nas is seeing great success as of late; he even has a classic instrumental in a\u003ca href=\"https://www.instagram.com/p/CSzRrJQHnQ0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\"> Tiffany and Co. advertisement\u003c/a>… but he’s still overshadowed (for better \u003ca href=\"https://www.kqed.org/arts/13901650/that-beyonce-jay-z-and-basquiat-ad-for-tiffanys-does-have-some-upsides-you-know\" target=\"_blank\" rel=\"noopener noreferrer\">or for worse\u003c/a>) by Jay-Z, who along with Beyoncé was also featured by the same high-end jewelry company.\u003c/p>\n\u003cp>And earlier this month, as the United States pulled out of Afghanistan, and Al Qaeda forces gained control of Kabul, it became clear that our 20-year war effort, launched after 9/11, had failed.\u003c/p>\n\u003cp>I watched the news clips of people running toward large moving jets, even clinging on as the planes took off—just to fall to their deaths. It was reported that \u003ca href=\"https://www.cbsnews.com/news/human-remains-plane-departing-afghanistan/#:~:text=Human%20remains%20were%20found%20in,clamoring%20to%20get%20on%20board.\" target=\"_blank\" rel=\"noopener noreferrer\">human remains were found\u003c/a> in the wheel well of one of the airplanes. For me, it was further clarification of what had been long suspected: this country’s “war on terrorism,” its sacrifice of both civilians and civil liberties, had been pointless.\u003c/p>\n\u003cp>I broke from my anger-inducing news intake to experiment with my COVID-driven lack of taste. I ate cloves of garlic whole and lemons with the rind still on, just for kicks. I couldn’t read my books, so I balanced my intake of important headlines with clips of crate-mountain conquerors falling to their doom for the whole internet to see.\u003c/p>\n\u003cp>And when all else failed, I revisited classic hip-hop albums as an escape. Scarface’s \u003ci>The Fix\u003c/i>, Snoop Dogg’s \u003ci>The Last Meal\u003c/i>, tracks from Foxy Brown’s \u003ci>Broken Silence\u003c/i> and Curren$y’s \u003ci>Pilot Talk\u003c/i> trilogy. I dug up the lesser-known Nas and Lauryn Hill track, “It Wasn’t You,” as well as the staple “If I Ruled The World”—another song about the pursuit of freedom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mlp-IIG9ApU\u003c/p>\n\u003cp>The alone time ate at me. How confined am I? Is my freedom found solely in music? Even then, I pay streaming services or take in unwanted advertisements to taste my source of liberation.\u003c/p>\n\u003cp>How has my push toward freedom led to further oppression? How much have I given to big business? How much revenue have I generated for millionaires with adverse views? Hell, how much have I personally contributed to this country’s war efforts?\u003c/p>\n\u003cp>I was in high school when our government started the longest war in this nation’s history. I entered the workforce shortly thereafter. Every legal dollar I’ve ever earned has been taxed and, in one way or another, used as fuel in this war machine.\u003c/p>\n\u003cp>How many guns have I indirectly purchased? How many were distributed in Black and brown communities overseas? How many have ended up back in my own neighborhood?\u003c/p>\n\u003cp>How many cops’ salaries have I contributed to? How many of those cops have harassed me, pulled over people I know for no reason, or killed someone who looks like me?\u003c/p>\n\u003cp>These are the unforeseen byproducts of working toward what I perceive as financial freedom.\u003c/p>\n\u003cp>https://www.instagram.com/p/CPBy3rqh3z0/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his is far from a complaint. I know the significance of being an African American person who gets paid to read and write. I write about artists, creators of color, working-class folks, and disenfranchised Black Americans who have whole bloodlines full of family who were deemed unworthy of the right to read, write, and pursue freedom.\u003c/p>\n\u003cp>I write about them; I write about us. But I’m still not free.\u003c/p>\n\u003cp>“… focused on my freedom now.”\u003c/p>\n\u003cp>August, Black August, is a time we look to honor those who’ve radically committed themselves to the pursuit of freedom. It encompasses Marcus Garvey’s birthdate, Nat Turner’s rebellion, The Haitian Revolution, and George Jackson’s death, as well as the date that Dr. Huey P. Newton was killed.\u003c/p>\n\u003cp>On that day, Aug. 22, the site where Dr. Newton is set to be honored with a bust created by Dana King \u003ca href=\"https://www.instagram.com/p/CS676K9r03y/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">was defaced.\u003c/a>\u003c/p>\n\u003cp>There’s no freedom, not even in death.\u003c/p>\n\u003cp>This August has been rough. There have been a couple of deaths in my inner circle and some unnecessary family drama. I’ve spent ample time reflecting on the nonsense I’ve traversed in my pursuit of freedom. And I’ve gotten wrapped in the pessimism that comes with the potential of dealing with COVID-19 and its variants for another six months, another year, maybe more.\u003c/p>\n\u003cp>My hope for economic, political, or any other substantive form of freedom has turned bleak. I don’t think it’s coming.\u003c/p>\n\u003cp>But more music is.\u003c/p>\n\u003cp>Every Thursday I look forward to new music dropping. After a week of working and inching slowly forward without finding the freedom I’d been told about, at least there’s music.\u003c/p>\n\u003cp>I celebrated every track \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> dropped this summer, got juiced when I saw \u003ca href=\"https://www.instagram.com/p/CS5e3UFlBfz/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a> in the \u003cem>New York Times\u003c/em>, and while I despise the NFL, I love that \u003ca href=\"https://www.instagram.com/p/CTLhzBtlEhm/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman 02\u003c/a> is \u003ca href=\"https://www.instagram.com/p/CS5Mpt5p8K_/\" rel=\"noopener noreferrer\" target=\"_blank\">providing the soundtrack\u003c/a> for the region’s remaining pro football team.\u003c/p>\n\u003cp>The closest I’ve ever been to liberation is within the confines of my headphones. I choose what music I’m going to ride to before I put on my seatbelt. There’s hardly a moment where my house is silent, even if it’s just some instrumentals playing softly in the other room.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I need music all the time. Every moment is focused on my freedom.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ugust 2021 was a lot. The return to in-class learning. The COVID vaccine debates. The massive fires, big earthquakes and huge storms. And the music. Thank the powers that be for the music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Kendrick Lamar dropped one verse and smoked your top five rappers, Kanye West took off that goofy red hat and dropped an album, Aaliyah’s discography finally became available on streaming platforms, and The Lox got their flowers.\u003c/p>\n\u003cp>In the Bay Area, meanwhile, music headlines were overshadowed by the unexplained series of events that led to the death of\u003ca href=\"https://www.kqed.org/arts/13901310/baba-zumbi-zion-i-dies\" target=\"_blank\" rel=\"noopener noreferrer\"> Zion I’s Baba Zumbi\u003c/a>.\u003c/p>\n\u003cp>I tested positive for COVID on the same day that Zumbi, a talented artist and friend who I’d seen two months prior at my best friend’s birthday party, was involved in a mysterious conflict at Alta Bates Hospital. While overcoming a case of COVID, Zumbi reportedly became involved in a physical altercation with hospital staff. Berkeley police responded. \u003ca href=\"https://www.kqed.org/arts/13901310/baba-zumbi-zion-i-dies\" target=\"_blank\" rel=\"noopener noreferrer\">Zumbi ended up dead\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I spent a week-plus quarantining and staring at my phone—scrolling, contemplating current events and critically thinking about what it all means—you know, in the larger context of this “freedom” we’re all inherently pursuing.\u003c/p>\n\u003cp>Again, thank God for music.\u003c/p>\n\u003cp>“All my time has been focused on my freedom now,” says Ms. Lauryn Hill, opening her verse on the track “Nobody” from Nas’ latest project \u003ci>King’s Disease II\u003c/i>. The album, a follow up to Nas’ 2020 Grammy-winning \u003ci>King’s Disease\u003c/i>, dropped the first week of the month and quickly topped Billboard’s hip-hop charts.\u003c/p>\n\u003cp>Ms. Hill’s extended barrage of bars on “Nobody” are packed with quotable lines, but nothing spoke to me like the idea of spending every second engaged in the process of emancipation. “Focused on my freedom now.” What an idea. Now I can’t stop thinking: \u003ci>shit, I wanna spend my time focusing on my freedom, too\u003c/i>.\u003c/p>\n\u003cp>Unfortunately, in a lot of ways, my time is spent indirectly paying for continued oppression.\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/234OiGtOvII'\n title='//www.youtube.com/embed/234OiGtOvII'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>xactly 20 years ago, Nas was in a dispute with Jay-Z that would be well-documented in a Summer Jam performance, multiple interviews, and of course music—starting with Jay’s “The Takeover,” featured on Jay-Z’s album \u003ci>The Blueprint\u003c/i>, which dropped Sept. 11, 2001. We all know what else happened that day.\u003c/p>\n\u003cp>I was a first-year high school student, living in a small apartment in South Berkeley and attending the Athenian College Preparatory School, 45 minutes away in the town of Danville. A scholarship offered to me through the \u003ca href=\"https://www.abetterchance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">A Better Chance\u003c/a> program landed me at school in one of the wealthiest places in the Bay Area.\u003c/p>\n\u003cp>Every morning I’d get on a big ‘ole Twinkie bus at Berkeley BART and pursue a \u003ci>better chance\u003c/i> of getting out of the hood, going to college, and eventually finding freedom. Between my taped-up Sony headphones and beneath my tightly wrapped durag, my big head bobbled on the back of the bus—I don’t know what I was bumping, but I can tell you that my brain was already brewing up ways to break bondage.\u003c/p>\n\u003cp>I wanted freedom. Economic freedom, specifically. I was told that academia was the way.\u003c/p>\n\u003cp>That first month of school, I got real familiar with the connection between my oppression locally and the oppression of people around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In response to how our friends and neighbors with roots in the Middle East were being treated post-9/11, I worked with my schoolmates, \u003ca href=\"https://www.instagram.com/amis_umi/\" target=\"_blank\" rel=\"noopener noreferrer\">Agzja Carey\u003c/a> and \u003ca href=\"https://www.linkedin.com/in/norah-alyami-5a385511/\" target=\"_blank\" rel=\"noopener noreferrer\">Norah Alyami\u003c/a>, to organize a rally in front of Oakland’s City Hall. The keynote speaker was \u003ca href=\"https://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, a journalist I knew from his KMEL days, and who I’d grow to admire and even mimic in his ability to mix hip-hop, politics, and the fight for freedom into one conversation.\u003c/p>\n\u003cp>Two decades later, life has evolved. Davey is a person I can call with hard journalism questions—I literally did just a few days ago.\u003c/p>\n\u003cp>Nas is seeing great success as of late; he even has a classic instrumental in a\u003ca href=\"https://www.instagram.com/p/CSzRrJQHnQ0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\"> Tiffany and Co. advertisement\u003c/a>… but he’s still overshadowed (for better \u003ca href=\"https://www.kqed.org/arts/13901650/that-beyonce-jay-z-and-basquiat-ad-for-tiffanys-does-have-some-upsides-you-know\" target=\"_blank\" rel=\"noopener noreferrer\">or for worse\u003c/a>) by Jay-Z, who along with Beyoncé was also featured by the same high-end jewelry company.\u003c/p>\n\u003cp>And earlier this month, as the United States pulled out of Afghanistan, and Al Qaeda forces gained control of Kabul, it became clear that our 20-year war effort, launched after 9/11, had failed.\u003c/p>\n\u003cp>I watched the news clips of people running toward large moving jets, even clinging on as the planes took off—just to fall to their deaths. It was reported that \u003ca href=\"https://www.cbsnews.com/news/human-remains-plane-departing-afghanistan/#:~:text=Human%20remains%20were%20found%20in,clamoring%20to%20get%20on%20board.\" target=\"_blank\" rel=\"noopener noreferrer\">human remains were found\u003c/a> in the wheel well of one of the airplanes. For me, it was further clarification of what had been long suspected: this country’s “war on terrorism,” its sacrifice of both civilians and civil liberties, had been pointless.\u003c/p>\n\u003cp>I broke from my anger-inducing news intake to experiment with my COVID-driven lack of taste. I ate cloves of garlic whole and lemons with the rind still on, just for kicks. I couldn’t read my books, so I balanced my intake of important headlines with clips of crate-mountain conquerors falling to their doom for the whole internet to see.\u003c/p>\n\u003cp>And when all else failed, I revisited classic hip-hop albums as an escape. Scarface’s \u003ci>The Fix\u003c/i>, Snoop Dogg’s \u003ci>The Last Meal\u003c/i>, tracks from Foxy Brown’s \u003ci>Broken Silence\u003c/i> and Curren$y’s \u003ci>Pilot Talk\u003c/i> trilogy. I dug up the lesser-known Nas and Lauryn Hill track, “It Wasn’t You,” as well as the staple “If I Ruled The World”—another song about the pursuit of freedom.\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/mlp-IIG9ApU'\n title='//www.youtube.com/embed/mlp-IIG9ApU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The alone time ate at me. How confined am I? Is my freedom found solely in music? Even then, I pay streaming services or take in unwanted advertisements to taste my source of liberation.\u003c/p>\n\u003cp>How has my push toward freedom led to further oppression? How much have I given to big business? How much revenue have I generated for millionaires with adverse views? Hell, how much have I personally contributed to this country’s war efforts?\u003c/p>\n\u003cp>I was in high school when our government started the longest war in this nation’s history. I entered the workforce shortly thereafter. Every legal dollar I’ve ever earned has been taxed and, in one way or another, used as fuel in this war machine.\u003c/p>\n\u003cp>How many guns have I indirectly purchased? How many were distributed in Black and brown communities overseas? How many have ended up back in my own neighborhood?\u003c/p>\n\u003cp>How many cops’ salaries have I contributed to? How many of those cops have harassed me, pulled over people I know for no reason, or killed someone who looks like me?\u003c/p>\n\u003cp>These are the unforeseen byproducts of working toward what I perceive as financial freedom.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his is far from a complaint. I know the significance of being an African American person who gets paid to read and write. I write about artists, creators of color, working-class folks, and disenfranchised Black Americans who have whole bloodlines full of family who were deemed unworthy of the right to read, write, and pursue freedom.\u003c/p>\n\u003cp>I write about them; I write about us. But I’m still not free.\u003c/p>\n\u003cp>“… focused on my freedom now.”\u003c/p>\n\u003cp>August, Black August, is a time we look to honor those who’ve radically committed themselves to the pursuit of freedom. It encompasses Marcus Garvey’s birthdate, Nat Turner’s rebellion, The Haitian Revolution, and George Jackson’s death, as well as the date that Dr. Huey P. Newton was killed.\u003c/p>\n\u003cp>On that day, Aug. 22, the site where Dr. Newton is set to be honored with a bust created by Dana King \u003ca href=\"https://www.instagram.com/p/CS676K9r03y/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">was defaced.\u003c/a>\u003c/p>\n\u003cp>There’s no freedom, not even in death.\u003c/p>\n\u003cp>This August has been rough. There have been a couple of deaths in my inner circle and some unnecessary family drama. I’ve spent ample time reflecting on the nonsense I’ve traversed in my pursuit of freedom. And I’ve gotten wrapped in the pessimism that comes with the potential of dealing with COVID-19 and its variants for another six months, another year, maybe more.\u003c/p>\n\u003cp>My hope for economic, political, or any other substantive form of freedom has turned bleak. I don’t think it’s coming.\u003c/p>\n\u003cp>But more music is.\u003c/p>\n\u003cp>Every Thursday I look forward to new music dropping. After a week of working and inching slowly forward without finding the freedom I’d been told about, at least there’s music.\u003c/p>\n\u003cp>I celebrated every track \u003ca href=\"https://www.instagram.com/rexxliferaj/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> dropped this summer, got juiced when I saw \u003ca href=\"https://www.instagram.com/p/CS5e3UFlBfz/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a> in the \u003cem>New York Times\u003c/em>, and while I despise the NFL, I love that \u003ca href=\"https://www.instagram.com/p/CTLhzBtlEhm/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman 02\u003c/a> is \u003ca href=\"https://www.instagram.com/p/CS5Mpt5p8K_/\" rel=\"noopener noreferrer\" target=\"_blank\">providing the soundtrack\u003c/a> for the region’s remaining pro football team.\u003c/p>\n\u003cp>The closest I’ve ever been to liberation is within the confines of my headphones. I choose what music I’m going to ride to before I put on my seatbelt. There’s hardly a moment where my house is silent, even if it’s just some instrumentals playing softly in the other room.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I need music all the time. Every moment is focused on my freedom.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "from-oakland-to-black-girl-songbook-danyel-smith-stays-true-to-the-town",
"title": "From Oakland to 'Black Girl Songbook,' Danyel Smith Stays True to the Town",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>anyel Smith, one of the premier writers on American culture over the past three decades, tells me the goal of her new podcast series \u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Girl Songbook\u003c/em>\u003c/a> is best exemplified by something that happened in a recent episode.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Last week’s chapter, “\u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr?si=ya5JzRYZQk25gTBnXJULCg\" target=\"_blank\" rel=\"noopener noreferrer\">The Diss-Education of Lauryn Hill\u003c/a>,” took listeners into the world of diss tracks through Smith’s appreciation of Lauryn Hill’s classic “Lost Ones.” As a bit of an aside, Smith asks one of her guests, legendary lyricist MC Lyte, if her speaking voice is the same as her regular voice.\u003c/p>\n\u003cp>MC Lyte tells Smith no—that she only uses her real voice when she’s at home, in the company of family. Lyte, the voice of so many big-name events, commercials, and classic songs, says no one had ever asked her that before.\u003c/p>\n\u003cp>“No one ever asks Black women questions,” says Smith, who boasts a resume showing she knows a thing or two about asking questions. She’s served as editor-at-large at Time Inc., editor at Billboard, and twice as the editor-in-chief of Vibe, where she was both the first African-American and first woman to hold that position.\u003c/p>\n\u003cp>Smith has made a career out of asking athletes, entertainers and specifically Black women in hip-hop and R&B the questions no one else asks them. And with her latest endeavor, as well as her forthcoming book \u003cem>\u003ca href=\"https://www.amazon.com/Shine-Bright-Personal-History-Black/dp/0593132718\" target=\"_blank\" rel=\"noopener noreferrer\">Shine Bright: A Personal History of Black Women in Pop\u003c/a>,\u003c/em> she’s looking to ask more questions and share some of her own stories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BUErg6Shwrz/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith’s story, like most good stories, begins in Oakland.\u003c/p>\n\u003cp>Smith attended Bella Vista Elementary School, and took summer school classes at my own alma mater, Edna M. Brewer Middle School (formerly McChesney Junior High). And though she moved to Los Angeles for high school, she says, the lessons she learned in the Town stayed with her to this day.\u003c/p>\n\u003cp>Growing up, Smith lived across the street from Highland Hospital, on Vallecito Place. Smith also spent time on 31st Street, 13th Avenue and East 24th Street in a neighborhood alternately known as the Twomps, Rollin’ Twenties or Murder Dubbs. That’s the same neighborhood that brought the world longtime journalist and MTV host \u003ca href=\"https://vimeo.com/193387173\" target=\"_blank\" rel=\"noopener noreferrer\">Sway Calloway\u003c/a>.\u003c/p>\n\u003cp>“First of all,” Smith says to me in that tone that’s both joyous and serious, “Sway’s mom and my mom knew each other at Fremont High School.”\u003c/p>\n\u003cp>Smith sincerely values her Oakland roots. On one episode of \u003cem>Black Girl Songbook\u003c/em> she mentions picking blackberries in her great-grandparents’ backyard on 83rd Avenue near East 14th Street. She remembers complaining, “But gram, there’s wasps!”—and getting the advice from her elder, “Well, move quickly.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BCvWCrbyxzT/\u003c/p>\n\u003cp>In addition to family, she soaked up culture from the community. “\u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">SoulBeat\u003c/a> was a lifeline,” Smith says, audibly clapping against a hard surface in the background as she references the old music videos and small-business commercials the Black-owned television station used to air. “It was A. Life. Line.”\u003c/p>\n\u003cp>A music fanatic since the time she saw the Jackson Five perform at the Circle Star Theatre in San Carlos as a kid, Smith eventually gravitated toward hip-hop, which was coming of age just as she was.\u003c/p>\n\u003cp>While San Francisco’s KMEL was pivoting from being an “album oriented rock” radio station to an “urban” station, Smith found culture in the margins: on late-night pirate radio stations and at clubs like the Stargaze in Fremont.\u003c/p>\n\u003cp>During her first stint in college at UC Berkeley, Smith tells me, she’d sweat out the entirety of her hairdo while dancing at parties where a guy named DJ Davey D was on the ones and twos. “All of (Davey D’s) community work over the years is legendary,” says Smith of KPFA’s \u003ca href=\"https://kpfa.org/program/hard-knock-radio/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard Knock Radio\u003c/a> host Davey D. “But let’s not forget that he really did have a reputation in the ’80s for DJing the best parties in all of the Bay Area.”\u003c/p>\n\u003cp>Smith knows about partying. “Back then, I was running around with Digital Underground… I was in these streets,” says Smith, laughing after stressing \u003cem>streets\u003c/em> and bringing back that joyous-yet-serious tone. “People are always like, ‘You were friends with 2Pac?’ I’m like, ‘I was actually friends with \u003cem>Tupac Shakur\u003c/em>.'”\u003c/p>\n\u003cfigure id=\"attachment_13894182\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-1.jpg\" alt=\"Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1-160x213.jpg 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993. \u003ccite>(Carl Posey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a self-described creative Black girl with hustle, Smith worked at a copy store on Oakland’s Piedmont Avenue when she was younger, and later at a more posh position at Saks Fifth Avenue in San Francisco. But writing was calling her.\u003c/p>\n\u003cp>“I got into journalism because of the murder rate in Oakland,” says Smith, speaking candidly about what was happening around her in 1992—the drugs and violence—and how that year became known for the \u003ca href=\"https://crime-data-explorer.fr.cloud.gov/explorer/agency/CA0010900/crime\" target=\"_blank\" rel=\"noopener noreferrer\">highest number of homicides\u003c/a> Oakland has ever tallied. “I was so tired of the local news counting murders like people were animals,” says Smith.\u003c/p>\n\u003cp>With the assistance of former \u003cem>San Francisco Bay Guardian\u003c/em> Arts Editor Tommy Tompkins and former \u003cem>SF Weekly\u003c/em> Music Editor \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">Ann K. Powers,\u003c/a> she got into the game. “This was when the alternative weeklies of the Bay Area were very helpful,” says Smith, also shouting out \u003cem>LA Weekly\u003c/em> and New York’s \u003cem>Village Voice\u003c/em>. “In many cases, they extended a hand to people of color to get them started writing. I miss those days.”\u003c/p>\n\u003cp>Smith’s call up to the major leagues came through Bill Adler, founding member of Def Jam, longtime journalist and namesake of the \u003ca href=\"https://digital.library.cornell.edu/catalog?f%5Bcollection_tesim%5D%5B%5D=Adler+Hip+Hop+Archive\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Hip-Hop Archive\u003c/a> at Cornell University. He informed Smith of an opening for the R&B Editor at \u003cem>Billboard\u003c/em>. Smith says she went to Oakland’s MacArthur-Broadway Mall (where Kaiser now stands) and got a suit that couldn’t have cost more than $40. “I made up my mind that I was going to get that job,” Smith recalls. “And that’s all she wrote.”\u003c/p>\n\u003cp>In all actuality, she was just getting started writing.\u003c/p>\n\u003cfigure id=\"attachment_13894183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-2-800x951.jpg\" alt=\"Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard's R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi.\" width=\"800\" height=\"951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2.jpg 1077w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard’s R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi. \u003ccite>(Courtesy of Danyel Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith landed big-name interviews with figures like \u003ca href=\"https://books.google.com/books?id=QCgEAAAAMBAJ&pg=PT15&lpg=PT15&dq=danyel+smith+Wesley+Snipes+billboard&source=bl&ots=Cw7IY0bx88&sig=ACfU3U01hWwrbxfYqzB72IPogFG4ONajLw&hl=en&sa=X&ved=2ahUKEwjeqY-6_LjvAhVFDDQIHRLrA0kQ6AEwEnoECAQQAw#v=onepage&q=danyel%20smith%20Wesley%20Snipes%20billboard&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Wesley Snipes,\u003c/a> and was one of the earliest reporters to investigate what eventually proved to be sex crimes committed by \u003ca href=\"https://books.google.com/books?id=dywEAAAAMBAJ&lpg=PA53&vq=kelly&pg=PA52#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>.\u003c/p>\n\u003cp>While Smith held her own, she admits she was “unpolished.” She took notes on how other women carried themselves and dressed, while at the same time, “I brought Oakland with me to every meeting. Good, bad, or otherwise.”\u003c/p>\n\u003cp>Smith tells me about a time an unnamed male boss told her he’d thought she was going to be too hood for the job. “But it seems like you’re doing OK,” Smith recalls him saying. It motivated Smith to dive deeper into her work. She credits a number of women, mentors, who took her under their wing and told her “not to drink out of the finger bowl at Mr. Chow’s.”\u003c/p>\n\u003cp>Because I’m looking clueless while hearing the story, Smith tells me a “finger bowl” is a little fancy container full of warm water for washing your hands at the table. \u003ca href=\"https://www.imdb.com/name/nm2312380/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Cassandra Mills\u003c/a>, the highly regarded manager, higher-up at Giant Records and force behind the success of the \u003cem>New Jack City\u003c/em> soundtrack, had to give Smith a gentle touch on the wrist to tell her not to drink it. “It had a lemon in it,” says Smith. “I was like, ‘Oh, lemon tea for me!’”\u003c/p>\n\u003cp>Years later, she’s not embarrassed about the interaction. “There’s no shame in not coming up around stuff like that,” says Smith, who knows others who’ve had to acclimate to the different world of Manhattan. “I married a guy, Ell, he’s from the projects in Queens. We’ll get through this together.”\u003c/p>\n\u003cp>Ell—or \u003ca href=\"https://twitter.com/ElliottWilson?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Elliott Wilson\u003c/a>, often referred to as the “GOAT” of hip-hop journalism—is the founder of Rap Radar and Chief Content Officer at Tidal.\u003c/p>\n\u003cp>Smith is transparent about their relationship: Wilson is her second husband, and their bond is a product of her taking time to heal from past relationships, Smith says, as well her being intentional about the things she truly wanted in life.\u003c/p>\n\u003cp>In her mid-30s, Smith took time away from work, went back to school and earned her undergraduate and masters degrees and also published a novel, \u003ca href=\"https://www.amazon.com/More-Like-Wrestling-Danyel-Smith/dp/0609809938\">\u003ci>More Like Wrestling,\u003c/i>\u003c/a> which is set in Oakland. She says one day she was at a friend’s birthday party and saw someone she’d known for a while, but had never looked at in \u003cem>that way\u003c/em>.\u003c/p>\n\u003cp>Smith and Wilson have now been married for 16 years.\u003c/p>\n\u003cp>http://www.instagram.com/p/3xkmu4Sx53/\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hrough my conversation with Smith, and in listening to her podcast, it’s become pretty clear just how important relationships are to the stories she tells.\u003c/p>\n\u003cp>So far this season, she’s covered her relationship to Whitney Houston as a fan, Whitney’s romantic relationship with Bobby Brown, the sisterhood-esque relationship between Natalie Cole and Whitney Houston, and the familial relationship of Natalie Cole and her father, Nat King Cole.\u003c/p>\n\u003cp>Looking back at her work, it’s a mechanism Smith has used in multiple ways. In retelling the story of a \u003ca href=\"https://www.youtube.com/watch?v=M7r8T0e5icU\">confrontation with Foxy Brown,\u003c/a> she focused on a friendship that shouldn’t have been. \u003ca href=\"https://theundefeated.com/features/simone-biles-most-dominant-athlete-of-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">In writing about Simone Biles\u003c/a>, she focused on the gymnast’s relationship to her sport, as well as other elite athletes. And in one of her more moving pieces, Smith writes candidly about her relationship with herself, as she juxtaposes \u003ca href=\"https://www.npr.org/2020/11/11/933080759/sade-saves-lovers-rock-20th-career-retrospective\" target=\"_blank\" rel=\"noopener noreferrer\">her own growth with Sade’s musical catalog\u003c/a>.\u003c/p>\n\u003cp>“The definition of love in a relationship,” Smith says, “is contributing to the other person’s growth.”\u003c/p>\n\u003cp>Of course, she says, taking care of the other person and staying romantic are in the mix, but “if you’re going to be with a person a long time, you have to be into that person growing into who they’re going to be,” says Smith, “and they have to be into you growing into who you are going to be.”\u003c/p>\n\u003cp>The same philosophy on relationships continually shows up in her work: as the culture has grown, so has she.\u003c/p>\n\u003cp>“I’ve always felt that hip-hop, when I got into it, it was still a subculture,” Smith says. “It wasn’t getting the credit that it deserved for changing culture and changing the world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And as hip-hop, and for that matter Black American entertainment as a whole, continues to get its due credit for changing the world, so too should its key purveyors.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>anyel Smith, one of the premier writers on American culture over the past three decades, tells me the goal of her new podcast series \u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Girl Songbook\u003c/em>\u003c/a> is best exemplified by something that happened in a recent episode.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Last week’s chapter, “\u003ca href=\"https://open.spotify.com/show/20Ifo2kqrmLweDY87KC0dr?si=ya5JzRYZQk25gTBnXJULCg\" target=\"_blank\" rel=\"noopener noreferrer\">The Diss-Education of Lauryn Hill\u003c/a>,” took listeners into the world of diss tracks through Smith’s appreciation of Lauryn Hill’s classic “Lost Ones.” As a bit of an aside, Smith asks one of her guests, legendary lyricist MC Lyte, if her speaking voice is the same as her regular voice.\u003c/p>\n\u003cp>MC Lyte tells Smith no—that she only uses her real voice when she’s at home, in the company of family. Lyte, the voice of so many big-name events, commercials, and classic songs, says no one had ever asked her that before.\u003c/p>\n\u003cp>“No one ever asks Black women questions,” says Smith, who boasts a resume showing she knows a thing or two about asking questions. She’s served as editor-at-large at Time Inc., editor at Billboard, and twice as the editor-in-chief of Vibe, where she was both the first African-American and first woman to hold that position.\u003c/p>\n\u003cp>Smith has made a career out of asking athletes, entertainers and specifically Black women in hip-hop and R&B the questions no one else asks them. And with her latest endeavor, as well as her forthcoming book \u003cem>\u003ca href=\"https://www.amazon.com/Shine-Bright-Personal-History-Black/dp/0593132718\" target=\"_blank\" rel=\"noopener noreferrer\">Shine Bright: A Personal History of Black Women in Pop\u003c/a>,\u003c/em> she’s looking to ask more questions and share some of her own stories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith’s story, like most good stories, begins in Oakland.\u003c/p>\n\u003cp>Smith attended Bella Vista Elementary School, and took summer school classes at my own alma mater, Edna M. Brewer Middle School (formerly McChesney Junior High). And though she moved to Los Angeles for high school, she says, the lessons she learned in the Town stayed with her to this day.\u003c/p>\n\u003cp>Growing up, Smith lived across the street from Highland Hospital, on Vallecito Place. Smith also spent time on 31st Street, 13th Avenue and East 24th Street in a neighborhood alternately known as the Twomps, Rollin’ Twenties or Murder Dubbs. That’s the same neighborhood that brought the world longtime journalist and MTV host \u003ca href=\"https://vimeo.com/193387173\" target=\"_blank\" rel=\"noopener noreferrer\">Sway Calloway\u003c/a>.\u003c/p>\n\u003cp>“First of all,” Smith says to me in that tone that’s both joyous and serious, “Sway’s mom and my mom knew each other at Fremont High School.”\u003c/p>\n\u003cp>Smith sincerely values her Oakland roots. On one episode of \u003cem>Black Girl Songbook\u003c/em> she mentions picking blackberries in her great-grandparents’ backyard on 83rd Avenue near East 14th Street. She remembers complaining, “But gram, there’s wasps!”—and getting the advice from her elder, “Well, move quickly.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In addition to family, she soaked up culture from the community. “\u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">SoulBeat\u003c/a> was a lifeline,” Smith says, audibly clapping against a hard surface in the background as she references the old music videos and small-business commercials the Black-owned television station used to air. “It was A. Life. Line.”\u003c/p>\n\u003cp>A music fanatic since the time she saw the Jackson Five perform at the Circle Star Theatre in San Carlos as a kid, Smith eventually gravitated toward hip-hop, which was coming of age just as she was.\u003c/p>\n\u003cp>While San Francisco’s KMEL was pivoting from being an “album oriented rock” radio station to an “urban” station, Smith found culture in the margins: on late-night pirate radio stations and at clubs like the Stargaze in Fremont.\u003c/p>\n\u003cp>During her first stint in college at UC Berkeley, Smith tells me, she’d sweat out the entirety of her hairdo while dancing at parties where a guy named DJ Davey D was on the ones and twos. “All of (Davey D’s) community work over the years is legendary,” says Smith of KPFA’s \u003ca href=\"https://kpfa.org/program/hard-knock-radio/\" target=\"_blank\" rel=\"noopener noreferrer\">Hard Knock Radio\u003c/a> host Davey D. “But let’s not forget that he really did have a reputation in the ’80s for DJing the best parties in all of the Bay Area.”\u003c/p>\n\u003cp>Smith knows about partying. “Back then, I was running around with Digital Underground… I was in these streets,” says Smith, laughing after stressing \u003cem>streets\u003c/em> and bringing back that joyous-yet-serious tone. “People are always like, ‘You were friends with 2Pac?’ I’m like, ‘I was actually friends with \u003cem>Tupac Shakur\u003c/em>.'”\u003c/p>\n\u003cfigure id=\"attachment_13894182\" class=\"wp-caption aligncenter\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894182\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-1.jpg\" alt=\"Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-1-160x213.jpg 160w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Danyel Smith sits on a coastline, hair blowing in the wind, as she looks into the camera. Photo taken at Oak Bluffs, MA in 1993. \u003ccite>(Carl Posey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a self-described creative Black girl with hustle, Smith worked at a copy store on Oakland’s Piedmont Avenue when she was younger, and later at a more posh position at Saks Fifth Avenue in San Francisco. But writing was calling her.\u003c/p>\n\u003cp>“I got into journalism because of the murder rate in Oakland,” says Smith, speaking candidly about what was happening around her in 1992—the drugs and violence—and how that year became known for the \u003ca href=\"https://crime-data-explorer.fr.cloud.gov/explorer/agency/CA0010900/crime\" target=\"_blank\" rel=\"noopener noreferrer\">highest number of homicides\u003c/a> Oakland has ever tallied. “I was so tired of the local news counting murders like people were animals,” says Smith.\u003c/p>\n\u003cp>With the assistance of former \u003cem>San Francisco Bay Guardian\u003c/em> Arts Editor Tommy Tompkins and former \u003cem>SF Weekly\u003c/em> Music Editor \u003ca href=\"https://www.npr.org/people/140955737/ann-powers\" target=\"_blank\" rel=\"noopener noreferrer\">Ann K. Powers,\u003c/a> she got into the game. “This was when the alternative weeklies of the Bay Area were very helpful,” says Smith, also shouting out \u003cem>LA Weekly\u003c/em> and New York’s \u003cem>Village Voice\u003c/em>. “In many cases, they extended a hand to people of color to get them started writing. I miss those days.”\u003c/p>\n\u003cp>Smith’s call up to the major leagues came through Bill Adler, founding member of Def Jam, longtime journalist and namesake of the \u003ca href=\"https://digital.library.cornell.edu/catalog?f%5Bcollection_tesim%5D%5B%5D=Adler+Hip+Hop+Archive\" target=\"_blank\" rel=\"noopener noreferrer\">Adler Hip-Hop Archive\u003c/a> at Cornell University. He informed Smith of an opening for the R&B Editor at \u003cem>Billboard\u003c/em>. Smith says she went to Oakland’s MacArthur-Broadway Mall (where Kaiser now stands) and got a suit that couldn’t have cost more than $40. “I made up my mind that I was going to get that job,” Smith recalls. “And that’s all she wrote.”\u003c/p>\n\u003cp>In all actuality, she was just getting started writing.\u003c/p>\n\u003cfigure id=\"attachment_13894183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894183\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/download-2-800x951.jpg\" alt=\"Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard's R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi.\" width=\"800\" height=\"951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/download-2.jpg 1077w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside of the NYC Billboard offices in 1993 as Boyz II Men (and friends) pose with Billboard’s R&B editor Danyel Smith (center) and R&B/Hip Hop Charts Director Terri Rossi. \u003ccite>(Courtesy of Danyel Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>mith landed big-name interviews with figures like \u003ca href=\"https://books.google.com/books?id=QCgEAAAAMBAJ&pg=PT15&lpg=PT15&dq=danyel+smith+Wesley+Snipes+billboard&source=bl&ots=Cw7IY0bx88&sig=ACfU3U01hWwrbxfYqzB72IPogFG4ONajLw&hl=en&sa=X&ved=2ahUKEwjeqY-6_LjvAhVFDDQIHRLrA0kQ6AEwEnoECAQQAw#v=onepage&q=danyel%20smith%20Wesley%20Snipes%20billboard&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Wesley Snipes,\u003c/a> and was one of the earliest reporters to investigate what eventually proved to be sex crimes committed by \u003ca href=\"https://books.google.com/books?id=dywEAAAAMBAJ&lpg=PA53&vq=kelly&pg=PA52#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>.\u003c/p>\n\u003cp>While Smith held her own, she admits she was “unpolished.” She took notes on how other women carried themselves and dressed, while at the same time, “I brought Oakland with me to every meeting. Good, bad, or otherwise.”\u003c/p>\n\u003cp>Smith tells me about a time an unnamed male boss told her he’d thought she was going to be too hood for the job. “But it seems like you’re doing OK,” Smith recalls him saying. It motivated Smith to dive deeper into her work. She credits a number of women, mentors, who took her under their wing and told her “not to drink out of the finger bowl at Mr. Chow’s.”\u003c/p>\n\u003cp>Because I’m looking clueless while hearing the story, Smith tells me a “finger bowl” is a little fancy container full of warm water for washing your hands at the table. \u003ca href=\"https://www.imdb.com/name/nm2312380/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Cassandra Mills\u003c/a>, the highly regarded manager, higher-up at Giant Records and force behind the success of the \u003cem>New Jack City\u003c/em> soundtrack, had to give Smith a gentle touch on the wrist to tell her not to drink it. “It had a lemon in it,” says Smith. “I was like, ‘Oh, lemon tea for me!’”\u003c/p>\n\u003cp>Years later, she’s not embarrassed about the interaction. “There’s no shame in not coming up around stuff like that,” says Smith, who knows others who’ve had to acclimate to the different world of Manhattan. “I married a guy, Ell, he’s from the projects in Queens. We’ll get through this together.”\u003c/p>\n\u003cp>Ell—or \u003ca href=\"https://twitter.com/ElliottWilson?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Elliott Wilson\u003c/a>, often referred to as the “GOAT” of hip-hop journalism—is the founder of Rap Radar and Chief Content Officer at Tidal.\u003c/p>\n\u003cp>Smith is transparent about their relationship: Wilson is her second husband, and their bond is a product of her taking time to heal from past relationships, Smith says, as well her being intentional about the things she truly wanted in life.\u003c/p>\n\u003cp>In her mid-30s, Smith took time away from work, went back to school and earned her undergraduate and masters degrees and also published a novel, \u003ca href=\"https://www.amazon.com/More-Like-Wrestling-Danyel-Smith/dp/0609809938\">\u003ci>More Like Wrestling,\u003c/i>\u003c/a> which is set in Oakland. She says one day she was at a friend’s birthday party and saw someone she’d known for a while, but had never looked at in \u003cem>that way\u003c/em>.\u003c/p>\n\u003cp>Smith and Wilson have now been married for 16 years.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hrough my conversation with Smith, and in listening to her podcast, it’s become pretty clear just how important relationships are to the stories she tells.\u003c/p>\n\u003cp>So far this season, she’s covered her relationship to Whitney Houston as a fan, Whitney’s romantic relationship with Bobby Brown, the sisterhood-esque relationship between Natalie Cole and Whitney Houston, and the familial relationship of Natalie Cole and her father, Nat King Cole.\u003c/p>\n\u003cp>Looking back at her work, it’s a mechanism Smith has used in multiple ways. In retelling the story of a \u003ca href=\"https://www.youtube.com/watch?v=M7r8T0e5icU\">confrontation with Foxy Brown,\u003c/a> she focused on a friendship that shouldn’t have been. \u003ca href=\"https://theundefeated.com/features/simone-biles-most-dominant-athlete-of-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">In writing about Simone Biles\u003c/a>, she focused on the gymnast’s relationship to her sport, as well as other elite athletes. And in one of her more moving pieces, Smith writes candidly about her relationship with herself, as she juxtaposes \u003ca href=\"https://www.npr.org/2020/11/11/933080759/sade-saves-lovers-rock-20th-career-retrospective\" target=\"_blank\" rel=\"noopener noreferrer\">her own growth with Sade’s musical catalog\u003c/a>.\u003c/p>\n\u003cp>“The definition of love in a relationship,” Smith says, “is contributing to the other person’s growth.”\u003c/p>\n\u003cp>Of course, she says, taking care of the other person and staying romantic are in the mix, but “if you’re going to be with a person a long time, you have to be into that person growing into who they’re going to be,” says Smith, “and they have to be into you growing into who you are going to be.”\u003c/p>\n\u003cp>The same philosophy on relationships continually shows up in her work: as the culture has grown, so has she.\u003c/p>\n\u003cp>“I’ve always felt that hip-hop, when I got into it, it was still a subculture,” Smith says. “It wasn’t getting the credit that it deserved for changing culture and changing the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as hip-hop, and for that matter Black American entertainment as a whole, continues to get its due credit for changing the world, so too should its key purveyors.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A simple drive from one side of Oakland to the other will reveal to anyone just how serious homelessness is in the city. In a new film, \u003cem>Tent City\u003c/em>, the compelling story of a search for a homeless family member covers the same geographic ground.\u003c/p>\n\u003cp>The film (directed by Adimu “WolfHawkJaguar” Madyun) stars Sizwe Andrews-Abakah as Cicero Jacobs, a man who has fallen into a deep depression after the unexpected death of his wife. The collapse of the family leaves Cicero’s daughter Siriyah (played by Sizwe’s real-life daughter, Saba Andrews-Abakah) to search for her father, who is lost in the sea of homelessness that is Oakland—tent city.\u003c/p>\n\u003cp>What transpires is a quest many can relate to: the pursuit of a loved one, and the effort to restore them to the person they once were.\u003c/p>\n\u003cp>In the process of creating a scripted film about homelessness in Oakland, the film crew created archival footage of housing encampments that are no longer standing, as people have been ushered into city-ordained encampments. The combination of heavy content based in reality and dramatic screenplay also open the gates to conversation around a topic with which many in Oakland have experience. After a screening on Friday, June 28, to ensure that conversation is held in a safe and respectful manner, journalist Davey D leads a Q&A with filmmakers and cast.\u003c/p>\n\u003cp>The June 28 screening of ‘Tent City,’ at the East Bay Church of Religious Science, doors open at 6pm, the screening starts at 7pm and is free to all. (Donations of bottled water, socks, tarps, large Ziploc bags and baby wipes accepted for distribution to the homeless.) \u003ca href=\"https://www.tentcitythemovie.com/\" target=\"_blank\" rel=\"noopener\">More 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>A simple drive from one side of Oakland to the other will reveal to anyone just how serious homelessness is in the city. In a new film, \u003cem>Tent City\u003c/em>, the compelling story of a search for a homeless family member covers the same geographic ground.\u003c/p>\n\u003cp>The film (directed by Adimu “WolfHawkJaguar” Madyun) stars Sizwe Andrews-Abakah as Cicero Jacobs, a man who has fallen into a deep depression after the unexpected death of his wife. The collapse of the family leaves Cicero’s daughter Siriyah (played by Sizwe’s real-life daughter, Saba Andrews-Abakah) to search for her father, who is lost in the sea of homelessness that is Oakland—tent city.\u003c/p>\n\u003cp>What transpires is a quest many can relate to: the pursuit of a loved one, and the effort to restore them to the person they once were.\u003c/p>\n\u003cp>In the process of creating a scripted film about homelessness in Oakland, the film crew created archival footage of housing encampments that are no longer standing, as people have been ushered into city-ordained encampments. The combination of heavy content based in reality and dramatic screenplay also open the gates to conversation around a topic with which many in Oakland have experience. After a screening on Friday, June 28, to ensure that conversation is held in a safe and respectful manner, journalist Davey D leads a Q&A with filmmakers and cast.\u003c/p>\n\u003cp>The June 28 screening of ‘Tent City,’ at the East Bay Church of Religious Science, doors open at 6pm, the screening starts at 7pm and is free to all. (Donations of bottled water, socks, tarps, large Ziploc bags and baby wipes accepted for distribution to the homeless.) \u003ca href=\"https://www.tentcitythemovie.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Remembering the Time Tupac Shakur Sued the Oakland Police for $10 Million",
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"content": "\u003cp>In honor of the late rapper’s birthday, Oakland has \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">proclaimed June 16 to be Tupac Shakur Day\u003c/a>—a nice, overdue gesture to the years Shakur spent living in Oakland. But the text of the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">official honor\u003c/a> is also missing a key part of Shakur’s history with the city.\u003c/p>\n\u003cp>Mayoral proclamations are usually forgotten after a few years. What’s \u003cem>not\u003c/em> likely to be forgotten is the Oakland Police Department’s jaywalking stop of Tupac Shakur in October 1991, which resulted in Shakur allegedly slammed to the ground and arrested.\u003c/p>\n\u003cp>That’s because in a rare early case of a rap artist suing the police, Shakur subsequently brought a $10 million civil suit against the OPD for their actions—and in an even rarer conclusion, the suit was settled for a reported $42,000.\u003c/p>\n\u003cfigure id=\"attachment_11696582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg\" alt=\"The intersection of 17th and Broadway, where Tupac's incident with police is said to have happened.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-1180x584.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intersection of 17th and Broadway, where Tupac’s incident with police is said to have happened.\u003c/figcaption>\u003c/figure>\n\u003cp>You can read the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">full proclamation\u003c/a>, which recounts Shakur’s involvement with Oakland hip-hop group Digital Underground, his own solo album sales, and his hit songs. But while Oakland’s police department seems to constantly be \u003ca href=\"http://www.eastbayexpress.com/oakland/badge-of-dishonor-top-oakland-police-department-officials-looked-away-as-east-bay-cops-sexually-exploited-and-trafficked-a-teenagerdepartmen/Content?oid=4832543\" target=\"_blank\" rel=\"noopener noreferrer\">in the midst of another scandal\u003c/a>, an additional stanza would seem appropriate today:\u003c/p>\n\u003cp>\u003cem>…and WHEREAS, in our ongoing efforts to better our police force, we remember the ways in which Shakur held our department to a higher standard…\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One can dream.\u003c/p>\n\u003cp>In 1991, Shakur was walking at what’s long been rumored as the intersection of 17th and Broadway in downtown Oakland when he was stopped by officers for jaywalking. What happened next was recounted by Shakur in \u003ca href=\"http://www.daveyd.com/interview2pacrare.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with hip-hop journalist Davey D\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Davey D\u003c/strong>: Can talk about your recent encounter with police brutality at the hands of the Oakland PD?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re letting the law do its job. It’s making its way through the court system. We filed a claim.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Recount the incident for those who don’t know.\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: For everyone who doesn’t know, I, an innocent young black male, was walking down the streets of Oakland minding my own business and the police department saw fit for me to be trained or snapped back into my place. So they asked for my ID and sweated me about my name because my name is “Tupac.” My final words to them was “fuck y’all.” Next thing I know I was in a chokehold passing out with cuffs on, headed for jail for resisting arrest. Yes, you heard right—I was arrested for resisting arrest.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Where is all this now?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re in the midst of having a $10 million dollar lawsuit against the Oakland Police Department. If I win and get the money, then the Oakland Police department is going to buy a Boys Home, me a house, my family a house, and a ‘Stop Police Brutality Center’ and other little odd things like that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11696580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg\" alt=\"Shakur, in the booklet for 'All Eyez on Me.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shakur, in the booklet for ‘All Eyez on Me.’ \u003ccite>(Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur, the son of \u003ca href=\"http://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener noreferrer\">the late Black Panther Afeni Shakur\u003c/a>, was raised with the importance of community building. His goal to build a boys’ home and center for police brutality is even more laudable considering the rapper was without any secure income: his debut album \u003cem>2Pacalypse Now\u003c/em> wouldn’t be released for another month. But Shakur wanted to give back to Oakland, claiming in interviews after moving to L.A. that “I give all my love to Oakland, if I’ma claim somewhere, I’ma claim Oakland… everything I do, you can give it to Oakland.”\u003c/p>\n\u003cp>For more historical context, consider that in 1991, the Rodney King jury had yet to acquit four officers involved in the infamous LAPD beating, and Rodney King had yet to be awarded any damages. As for a young black man suing the police department for what most black residents of Oakland at the time could testify was a routine occurrence? In 1991, that was a brazen move; to Shakur, however, it was simply asserting his civil rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yCYT3T3UBdw\u003c/p>\n\u003cp>And especially before smartphone cameras provided quick, reliable evidence in police brutality cases, a $42,000 settlement to a young rapper—whose music would be the subject of \u003ca href=\"http://www.nytimes.com/1996/09/14/arts/tupac-shakur-25-rap-performer-who-personified-violence-dies.html?pagewanted=2\" target=\"_blank\" rel=\"noopener noreferrer\">an attempted ban by the vice president of the United States\u003c/a> for its criticism of police—was groundbreaking.\u003c/p>\n\u003cp>So, happy Tupac Shakur Day. But while you’re playing “\u003ca href=\"https://www.youtube.com/watch?v=FWOsbGP5Ox4\" target=\"_blank\" rel=\"noopener noreferrer\">California Love\u003c/a>” to celebrate, remember the determined young black man who kept pushing for a better world, kept fighting for his rights, and reminded us all to \u003ca href=\"https://www.youtube.com/watch?v=XW--IGAfeas\" target=\"_blank\" rel=\"noopener noreferrer\">keep our heads up\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Watch one of Shakur’s greatest interview segments below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HuBWjhEax3g\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the late rapper’s birthday, Oakland has \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">proclaimed June 16 to be Tupac Shakur Day\u003c/a>—a nice, overdue gesture to the years Shakur spent living in Oakland. But the text of the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">official honor\u003c/a> is also missing a key part of Shakur’s history with the city.\u003c/p>\n\u003cp>Mayoral proclamations are usually forgotten after a few years. What’s \u003cem>not\u003c/em> likely to be forgotten is the Oakland Police Department’s jaywalking stop of Tupac Shakur in October 1991, which resulted in Shakur allegedly slammed to the ground and arrested.\u003c/p>\n\u003cp>That’s because in a rare early case of a rap artist suing the police, Shakur subsequently brought a $10 million civil suit against the OPD for their actions—and in an even rarer conclusion, the suit was settled for a reported $42,000.\u003c/p>\n\u003cfigure id=\"attachment_11696582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg\" alt=\"The intersection of 17th and Broadway, where Tupac's incident with police is said to have happened.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-1180x584.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intersection of 17th and Broadway, where Tupac’s incident with police is said to have happened.\u003c/figcaption>\u003c/figure>\n\u003cp>You can read the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">full proclamation\u003c/a>, which recounts Shakur’s involvement with Oakland hip-hop group Digital Underground, his own solo album sales, and his hit songs. But while Oakland’s police department seems to constantly be \u003ca href=\"http://www.eastbayexpress.com/oakland/badge-of-dishonor-top-oakland-police-department-officials-looked-away-as-east-bay-cops-sexually-exploited-and-trafficked-a-teenagerdepartmen/Content?oid=4832543\" target=\"_blank\" rel=\"noopener noreferrer\">in the midst of another scandal\u003c/a>, an additional stanza would seem appropriate today:\u003c/p>\n\u003cp>\u003cem>…and WHEREAS, in our ongoing efforts to better our police force, we remember the ways in which Shakur held our department to a higher standard…\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One can dream.\u003c/p>\n\u003cp>In 1991, Shakur was walking at what’s long been rumored as the intersection of 17th and Broadway in downtown Oakland when he was stopped by officers for jaywalking. What happened next was recounted by Shakur in \u003ca href=\"http://www.daveyd.com/interview2pacrare.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with hip-hop journalist Davey D\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Davey D\u003c/strong>: Can talk about your recent encounter with police brutality at the hands of the Oakland PD?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re letting the law do its job. It’s making its way through the court system. We filed a claim.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Recount the incident for those who don’t know.\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: For everyone who doesn’t know, I, an innocent young black male, was walking down the streets of Oakland minding my own business and the police department saw fit for me to be trained or snapped back into my place. So they asked for my ID and sweated me about my name because my name is “Tupac.” My final words to them was “fuck y’all.” Next thing I know I was in a chokehold passing out with cuffs on, headed for jail for resisting arrest. Yes, you heard right—I was arrested for resisting arrest.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Where is all this now?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re in the midst of having a $10 million dollar lawsuit against the Oakland Police Department. If I win and get the money, then the Oakland Police department is going to buy a Boys Home, me a house, my family a house, and a ‘Stop Police Brutality Center’ and other little odd things like that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11696580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg\" alt=\"Shakur, in the booklet for 'All Eyez on Me.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shakur, in the booklet for ‘All Eyez on Me.’ \u003ccite>(Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur, the son of \u003ca href=\"http://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener noreferrer\">the late Black Panther Afeni Shakur\u003c/a>, was raised with the importance of community building. His goal to build a boys’ home and center for police brutality is even more laudable considering the rapper was without any secure income: his debut album \u003cem>2Pacalypse Now\u003c/em> wouldn’t be released for another month. But Shakur wanted to give back to Oakland, claiming in interviews after moving to L.A. that “I give all my love to Oakland, if I’ma claim somewhere, I’ma claim Oakland… everything I do, you can give it to Oakland.”\u003c/p>\n\u003cp>For more historical context, consider that in 1991, the Rodney King jury had yet to acquit four officers involved in the infamous LAPD beating, and Rodney King had yet to be awarded any damages. As for a young black man suing the police department for what most black residents of Oakland at the time could testify was a routine occurrence? In 1991, that was a brazen move; to Shakur, however, it was simply asserting his civil rights.\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/yCYT3T3UBdw'\n title='//www.youtube.com/embed/yCYT3T3UBdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And especially before smartphone cameras provided quick, reliable evidence in police brutality cases, a $42,000 settlement to a young rapper—whose music would be the subject of \u003ca href=\"http://www.nytimes.com/1996/09/14/arts/tupac-shakur-25-rap-performer-who-personified-violence-dies.html?pagewanted=2\" target=\"_blank\" rel=\"noopener noreferrer\">an attempted ban by the vice president of the United States\u003c/a> for its criticism of police—was groundbreaking.\u003c/p>\n\u003cp>So, happy Tupac Shakur Day. But while you’re playing “\u003ca href=\"https://www.youtube.com/watch?v=FWOsbGP5Ox4\" target=\"_blank\" rel=\"noopener noreferrer\">California Love\u003c/a>” to celebrate, remember the determined young black man who kept pushing for a better world, kept fighting for his rights, and reminded us all to \u003ca href=\"https://www.youtube.com/watch?v=XW--IGAfeas\" target=\"_blank\" rel=\"noopener noreferrer\">keep our heads up\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Watch one of Shakur’s greatest interview segments below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HuBWjhEax3g'\n title='//www.youtube.com/embed/HuBWjhEax3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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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"onourwatch": {
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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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"perspectives": {
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"planet-money": {
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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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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