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"content": "\u003cp>With the grief and isolation of the pandemic, many have referred to artists as “second responders” to the crisis. It was the creative people in our communities, after all, whose music, poetry and murals got us through this dark time. And in a more literal sense, artists were often on the forefront of protests and mutual aid efforts, advocating for racial justice and community care.\u003c/p>\n\u003cp>In that spirit, a group of Oakland artists wants to help shape the city’s 2021–23 budget, and they’re planning a virtual town hall to advocate for themselves and their communities on May 25.\u003c/p>\n\u003cp>Right now, Oakland residents have an opportunity to give their input before the next city budget is set in stone. Mayor Libby Schaaf published her \u003ca href=\"https://stories.opengov.com/oaklandca/published/2O53-Vkqy\" target=\"_blank\" rel=\"noopener noreferrer\">budget proposal\u003c/a> on May 7, and it includes a plan to allocate $448,731 for arts grants and events in the 2021–22 fiscal year and $573,930 in 2022–23. More controversially, her budget proposal \u003ca href=\"https://oaklandside.org/2021/05/07/mayor-libby-schaaf-2021-2023-oakland-budget-proposal-police-reimagine/\" target=\"_blank\" rel=\"noopener noreferrer\">seeks to increase police spending by 8%\u003c/a> at a time when many community advocates have called to reallocate funds from the police to social services. The city council will need to approve the final budget by June 30, and council members are currently soliciting feedback from their constituents. [aside postid='news_11873608']\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eventbrite.com/e/artists-in-action-virtual-town-hall-on-the-future-of-oakland-artists-tickets-154646476775\" target=\"_blank\" rel=\"noopener noreferrer\">Artists in Action\u003c/a> virtual town hall on May 25 invites participants to bring their ideas and voices, and join a slate of artists and activists advocating for racial and economic justice. Speakers include pianist and MC Kev Choice, who is on the Oakland Cultural Affairs Commission; artist and activist RyanNicole; liz suk of Oakland Rising, an organization that advocates for low-income people of color; James Burch of the Anti Police-Terror Project and Defund Police Coalition; artist Favianna Rodriguez, who is president of the Center for Cultural Power; and many more.\u003c/p>\n\u003cp>More details about the town hall can be found \u003ca href=\"https://www.eventbrite.com/e/artists-in-action-virtual-town-hall-on-the-future-of-oakland-artists-tickets-154646476775\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Tina Turner doesn’t need anybody’s validation to hold her place in rock and roll history, but she’s now been inducted into the Rock & Roll Hall of Fame as a solo artist. She joins 12 others in what the organization calls the most diverse list of inductees in the its 36-year history.\u003c/p>\n\u003cp>Joining Turner among the performers in the main class of 2021 inductees are Todd Rundgren, Carole King, Jay-Z, The Go-Go’s and Foo Fighters. The full list of inductees, which includes those named in categories like “Early Influence” and “Musical Excellence,” is below.\u003c/p>\n\u003cp>The inclusion of Turner, King and The Go-Go’s makes it the first time three female artists have been inducted in the Performers category in a single class.\u003c/p>\n\u003cp>The Go-Go’s, Foo Fighters and Jay-Z are all first-time nominees (an act is eligible for induction 25 years after the release of its first commercial recording). Foo Fighters and Jay-Z were nominated in their first year of eligibility. The Go-Go’s have been eligible since 2006.\u003c/p>\n\u003cp>Foo Fighters lead singer Dave Grohl was inducted in 2014 with his previous band Nirvana, and King was inducted for her songwriting in 1990 along with Gerry Goffin. Tina Turner was also previously inducted in 1991 for her work with Ike Turner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A total of 16 artists were nominated for the 2021 class. Those who will not be inducted this year are Iron Maiden, Chaka Khan, Rage Against the Machine, Mary J. Blige, Kate Bush, Devo, Fela Kuti, New York Dolls and Dionne Warwick.\u003c/p>\n\u003cp>In a statement, Chairman of the Rock & Roll Hall of Fame Foundation John Sykes said, “This diverse class of talented inductees reflects the Hall’s ongoing commitment to honor artists whose music created the sound of youth culture.”\u003c/p>\n\u003cp>The induction ceremony is set to take place on Oct. 30, and will be broadcast on HBO.\u003c/p>\n\u003chr>\n\u003ch3>Complete List Of 2021 Rock & Roll Hall of Fame Inductees\u003c/h3>\n\u003cp>Performers Category:\u003c/p>\n\u003cul>\n\u003cli>Foo Fighters\u003c/li>\n\u003cli>Jay-Z\u003c/li>\n\u003cli>The Go-Go’s\u003c/li>\n\u003cli>Carole King\u003c/li>\n\u003cli>Todd Rundgren\u003c/li>\n\u003cli>Tina Turner\u003c/li>\n\u003c/ul>\n\u003cp>Ahmet Ertegun Award (given to non-performing music industry professionals)\u003c/p>\n\u003cul>\n\u003cli>Clarence Avant\u003c/li>\n\u003c/ul>\n\u003cp>Musical Excellence Award\u003c/p>\n\u003cul>\n\u003cli>LL Cool J\u003c/li>\n\u003cli>Billy Preston\u003c/li>\n\u003cli>Randy Rhoads\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Early Influence Award\u003c/p>\n\u003cul>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>Gil Scott-Heron\u003c/li>\n\u003cli>Charley Patton\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tina+Turner%2C+Jay-Z%2C+Foo+Fighters+Among+Those+Inducted+Into+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tina Turner doesn’t need anybody’s validation to hold her place in rock and roll history, but she’s now been inducted into the Rock & Roll Hall of Fame as a solo artist. She joins 12 others in what the organization calls the most diverse list of inductees in the its 36-year history.\u003c/p>\n\u003cp>Joining Turner among the performers in the main class of 2021 inductees are Todd Rundgren, Carole King, Jay-Z, The Go-Go’s and Foo Fighters. The full list of inductees, which includes those named in categories like “Early Influence” and “Musical Excellence,” is below.\u003c/p>\n\u003cp>The inclusion of Turner, King and The Go-Go’s makes it the first time three female artists have been inducted in the Performers category in a single class.\u003c/p>\n\u003cp>The Go-Go’s, Foo Fighters and Jay-Z are all first-time nominees (an act is eligible for induction 25 years after the release of its first commercial recording). Foo Fighters and Jay-Z were nominated in their first year of eligibility. The Go-Go’s have been eligible since 2006.\u003c/p>\n\u003cp>Foo Fighters lead singer Dave Grohl was inducted in 2014 with his previous band Nirvana, and King was inducted for her songwriting in 1990 along with Gerry Goffin. Tina Turner was also previously inducted in 1991 for her work with Ike Turner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A total of 16 artists were nominated for the 2021 class. Those who will not be inducted this year are Iron Maiden, Chaka Khan, Rage Against the Machine, Mary J. Blige, Kate Bush, Devo, Fela Kuti, New York Dolls and Dionne Warwick.\u003c/p>\n\u003cp>In a statement, Chairman of the Rock & Roll Hall of Fame Foundation John Sykes said, “This diverse class of talented inductees reflects the Hall’s ongoing commitment to honor artists whose music created the sound of youth culture.”\u003c/p>\n\u003cp>The induction ceremony is set to take place on Oct. 30, and will be broadcast on HBO.\u003c/p>\n\u003chr>\n\u003ch3>Complete List Of 2021 Rock & Roll Hall of Fame Inductees\u003c/h3>\n\u003cp>Performers Category:\u003c/p>\n\u003cul>\n\u003cli>Foo Fighters\u003c/li>\n\u003cli>Jay-Z\u003c/li>\n\u003cli>The Go-Go’s\u003c/li>\n\u003cli>Carole King\u003c/li>\n\u003cli>Todd Rundgren\u003c/li>\n\u003cli>Tina Turner\u003c/li>\n\u003c/ul>\n\u003cp>Ahmet Ertegun Award (given to non-performing music industry professionals)\u003c/p>\n\u003cul>\n\u003cli>Clarence Avant\u003c/li>\n\u003c/ul>\n\u003cp>Musical Excellence Award\u003c/p>\n\u003cul>\n\u003cli>LL Cool J\u003c/li>\n\u003cli>Billy Preston\u003c/li>\n\u003cli>Randy Rhoads\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>Early Influence Award\u003c/p>\n\u003cul>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>Gil Scott-Heron\u003c/li>\n\u003cli>Charley Patton\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tina+Turner%2C+Jay-Z%2C+Foo+Fighters+Among+Those+Inducted+Into+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A New Kind of Mother’s Day",
"headTitle": "A New Kind of Mother’s Day | KQED",
"content": "\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/brittctann/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a> is a Bay Area vocalist, songwriter, and entrepreneur. As a member of the hip-hop ensemble SOL Development and the collective BE-IMAGINATIVE, both featured in the KQED Arts documentary \u003c/em>\u003ca href=\"https://www.whenthewatersgetdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">When the Waters Get Deep\u003c/a>\u003cem>, Tanner has helped work to disrupt the hopelessness from gun violence. She is also a founder of \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a healing circle and space led by Black and brown women dedicated to transforming pain into medicine.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">…\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\">I\u003c/span> remember once cleaning my mom’s whole house because I didn’t have money to buy her a gift. Now that I’m a mother myself, I see that one day a year is not enough to repay her for all the magic, dedication and love she’s gifted me, but a reminder to uplift and praise her every damn day.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg\" alt=\" \" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was born to Sabrina McDaniel and Carnell Tanner August 8, 1985. They were both sixteen at the time. I had an amazing childhood. I grew up a country girl in Bakersfield, California. My great-grandpa always had some grapes fermenting in the bin outside, and my uncle Steve who lived next door kept chickens and homing pigeons, plus a team of the most vicious pit bulls. We’d occasionally catch crawdeggs in the canal, then sit in a circle popping the meat out the tails. There was a mulberry tree in the backyard, plenty of skinned knees, more than a couple black eyes, a whole lotta cussin’ and then church with grandma every Sunday.\u003c/p>\n\u003cp>My brothers and I were bad as hell—it was just the three of us for a while, until my mom had my younger brother and sister. Then there were five of us. We’d ride our bikes all over the neighborhood, getting chased by dogs, playing knock-knock zoom-zoom at night and just getting into all the trouble we could think of. We grew up in the house that my grandma Rene used to live in, built by my great-grandpa. He and my great-grandma Miller lived a house and a huge field down the street from us. My aunt Sandra and uncle Andre lived to the right, and my uncle Steve and aunt Dametia lived on the left.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896795\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When my mom was at school or work, the neighborhood watched and cared for us. My uncle Steve used to watch us through his blinds. I remember looking up and trying to see if he was looking at us so I could make my next move. You didn’t want to get caught by him—he gave the type of whoopin’s that make you hold your breath for a long time.\u003c/p>\n\u003cp>One day me and my brother Meechie were lighting little fires in the field, but putting them out quickly so they wouldn’t get too big. I had sandals on, so Meechie had to stomp the fires out for me. Well, he was lighting one and I was lighting one, and I guess he took too long getting to mine and the whole field caught on fire. When it got too big we had to run and get the adults. I was hysterical the whole time, not because of the fire but because of the ass whoopin’ I knew we were gonna get. Meechie took all the blame and I kept on with the hysterical crying, in shock and relief. I never thanked him enough for that.\u003c/p>\n\u003cp>Me, Meechie and Darius would fight all the time—like physically fight. We would even have boxing matches in the backyard with our cousins with no gloves. There was no scratching allowed. I used to think that rule was because I was a girl until Meech came in the house with a welt on his face and we all got in trouble. Another time, Meech and Darius were playing tug of war against me and they colluded to let go. I flew into the wall and got knocked out. When I awoke, they were both hovering over me, with Meech telling me to wake up and Darius starting to cry.\u003c/p>\n\u003cfigure id=\"attachment_13896793\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896793\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg\" alt=\"Brittany Tanner and family pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Tanner and family pose for a photo. \u003ccite>(Brittany Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how much we fought in the house, though, we had each other’s backs outside. In those days everybody knew everybody, and they definitely knew my folks. The Millers, McDaniels and the Woffords on my mom’s side and the Antonys/Tanners on my dad’s.\u003c/p>\n\u003cp>It was one of those sunny days and my older cousin Kreshell took me to Sixth Street Park. We weren’t even there an hour and they started shooting. I mean shootin’ shootin’, like AK-47s or something. I was by the swings and my uncle Steve told me to run to the bathroom, when I tell you I was the tallest kid in there, crying out to Jesus! I was in there talking ’bout “Jesus, Jesus, Jesus!”\u003c/p>\n\u003cp>The next morning I was at church repenting, crying my eyes out and telling the whole church how I felt a bullet go straight through my back but God saved me. I remember all the mothers and my grandma laying hands and praying for me. In each moment, there was always my community coming together in ritual to nurture my spirit and pass down wisdom. Sometimes that looked like a whoopin’, sometimes it looked like a hug, sometimes it was everybody kickin’ it at the family BBQ, and more times it was your mother telling all your business so the rest of the family can hold you accountable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896798\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When I was 18 I moved to Las Vegas trying to be grown. I was so lost. I felt my family didn’t understand me. I wanted to become a singer and was taking all the wrong paths and meeting all the wrong people to achieve that dream. I remember being surrounded by people but still feeling so alone. Just because I was finding my own way didn’t mean I had to abandon who I was and where I’d come from. I continued to fumble for years trying to connect with spirit and find my way.\u003c/p>\n\u003cp>It wasn’t until 2012 when I moved to D.C. and found my adopted community that I began to learn my full purpose. Not only did I began to see my calling as a vocalist but I realized I was so much more. I began to transition back to my roots. It started with me wanting to eat better and then I started being accountable for my bullshit. I was having difficult conversations that forced me to take a deep look into myself. I’m still looking.\u003c/p>\n\u003cp>I moved to Oakland with my SOL Development family in the summer of 2015. The year before I moved to D.C., I wrote the song “Brother.” I had no idea that in 2021 I’d break down and cry every time I heard it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On October 17, 2019, my brother Demetrius “Meech” Tanner was murdered in Baltimore. My cousin Sandee called me, told me to sit down, and told me he’d been shot. I was doing my sis Lauren’s (of SOL Development) hair. I couldn’t even finish. My partner Nell drove me to Bakersfield to be with my family, and when we got there I laid in the bed with my mom and we cried. We’d been filming the documentary \u003ca href=\"https://www.kqed.org/arts/13889347/sol-development-guides-the-lyrical-doc-when-the-waters-get-deep\" target=\"_blank\" rel=\"noopener noreferrer\">When The Waters Get Deep\u003c/a> for a whole year. I felt so privileged to be in such healing spaces facilitated by BE Imaginative. Those interactions catapulted me into the healing work I began with \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>. And through all the healing work and transitions, I’ve always had to lean into community. That is my sacred place.\u003c/p>\n\u003cp>I became a mother August 30, 2020. My pregnancy was full of mixed emotions. I felt the joy from preparing to bring new life, but there was so much grief. I began going live on Instagram and sang whatever affirmations people would write in the comments. I began to once again feel community. Their affirmations were speaking directly to me, and the grieving that I was running from flowed right out of me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As a mother my number-one priority is to always pour into myself in that way, to stay committed to growth and healing, to ritual, to sacred community. I fall short of that often, and try my best to be transparent about that, so that my community can play its part and step in when needed.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Being a mother—a Black mother—is the hardest, most rewarding job, but it is impossible without aunties, uncles, cousins, grandmas, grandpas and loved ones.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/brittctann/\" target=\"_blank\" rel=\"noopener noreferrer\">Brittany Tanner\u003c/a> is a Bay Area vocalist, songwriter, and entrepreneur. As a member of the hip-hop ensemble SOL Development and the collective BE-IMAGINATIVE, both featured in the KQED Arts documentary \u003c/em>\u003ca href=\"https://www.whenthewatersgetdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">When the Waters Get Deep\u003c/a>\u003cem>, Tanner has helped work to disrupt the hopelessness from gun violence. She is also a founder of \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a healing circle and space led by Black and brown women dedicated to transforming pain into medicine.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">…\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\">I\u003c/span> remember once cleaning my mom’s whole house because I didn’t have money to buy her a gift. Now that I’m a mother myself, I see that one day a year is not enough to repay her for all the magic, dedication and love she’s gifted me, but a reminder to uplift and praise her every damn day.\u003c/p>\n\u003cp style=\"text-align: center\">…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg\" alt=\" \" width=\"800\" height=\"569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-12.jpg 1016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was born to Sabrina McDaniel and Carnell Tanner August 8, 1985. They were both sixteen at the time. I had an amazing childhood. I grew up a country girl in Bakersfield, California. My great-grandpa always had some grapes fermenting in the bin outside, and my uncle Steve who lived next door kept chickens and homing pigeons, plus a team of the most vicious pit bulls. We’d occasionally catch crawdeggs in the canal, then sit in a circle popping the meat out the tails. There was a mulberry tree in the backyard, plenty of skinned knees, more than a couple black eyes, a whole lotta cussin’ and then church with grandma every Sunday.\u003c/p>\n\u003cp>My brothers and I were bad as hell—it was just the three of us for a while, until my mom had my younger brother and sister. Then there were five of us. We’d ride our bikes all over the neighborhood, getting chased by dogs, playing knock-knock zoom-zoom at night and just getting into all the trouble we could think of. We grew up in the house that my grandma Rene used to live in, built by my great-grandpa. He and my great-grandma Miller lived a house and a huge field down the street from us. My aunt Sandra and uncle Andre lived to the right, and my uncle Steve and aunt Dametia lived on the left.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896795\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35-1536x1026.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-35.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When my mom was at school or work, the neighborhood watched and cared for us. My uncle Steve used to watch us through his blinds. I remember looking up and trying to see if he was looking at us so I could make my next move. You didn’t want to get caught by him—he gave the type of whoopin’s that make you hold your breath for a long time.\u003c/p>\n\u003cp>One day me and my brother Meechie were lighting little fires in the field, but putting them out quickly so they wouldn’t get too big. I had sandals on, so Meechie had to stomp the fires out for me. Well, he was lighting one and I was lighting one, and I guess he took too long getting to mine and the whole field caught on fire. When it got too big we had to run and get the adults. I was hysterical the whole time, not because of the fire but because of the ass whoopin’ I knew we were gonna get. Meechie took all the blame and I kept on with the hysterical crying, in shock and relief. I never thanked him enough for that.\u003c/p>\n\u003cp>Me, Meechie and Darius would fight all the time—like physically fight. We would even have boxing matches in the backyard with our cousins with no gloves. There was no scratching allowed. I used to think that rule was because I was a girl until Meech came in the house with a welt on his face and we all got in trouble. Another time, Meech and Darius were playing tug of war against me and they colluded to let go. I flew into the wall and got knocked out. When I awoke, they were both hovering over me, with Meech telling me to wake up and Darius starting to cry.\u003c/p>\n\u003cfigure id=\"attachment_13896793\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896793\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg\" alt=\"Brittany Tanner and family pose for a photo.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-34.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Tanner and family pose for a photo. \u003ccite>(Brittany Tanner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how much we fought in the house, though, we had each other’s backs outside. In those days everybody knew everybody, and they definitely knew my folks. The Millers, McDaniels and the Woffords on my mom’s side and the Antonys/Tanners on my dad’s.\u003c/p>\n\u003cp>It was one of those sunny days and my older cousin Kreshell took me to Sixth Street Park. We weren’t even there an hour and they started shooting. I mean shootin’ shootin’, like AK-47s or something. I was by the swings and my uncle Steve told me to run to the bathroom, when I tell you I was the tallest kid in there, crying out to Jesus! I was in there talking ’bout “Jesus, Jesus, Jesus!”\u003c/p>\n\u003cp>The next morning I was at church repenting, crying my eyes out and telling the whole church how I felt a bullet go straight through my back but God saved me. I remember all the mothers and my grandma laying hands and praying for me. In each moment, there was always my community coming together in ritual to nurture my spirit and pass down wisdom. Sometimes that looked like a whoopin’, sometimes it looked like a hug, sometimes it was everybody kickin’ it at the family BBQ, and more times it was your mother telling all your business so the rest of the family can hold you accountable.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896798\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-33.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When I was 18 I moved to Las Vegas trying to be grown. I was so lost. I felt my family didn’t understand me. I wanted to become a singer and was taking all the wrong paths and meeting all the wrong people to achieve that dream. I remember being surrounded by people but still feeling so alone. Just because I was finding my own way didn’t mean I had to abandon who I was and where I’d come from. I continued to fumble for years trying to connect with spirit and find my way.\u003c/p>\n\u003cp>It wasn’t until 2012 when I moved to D.C. and found my adopted community that I began to learn my full purpose. Not only did I began to see my calling as a vocalist but I realized I was so much more. I began to transition back to my roots. It started with me wanting to eat better and then I started being accountable for my bullshit. I was having difficult conversations that forced me to take a deep look into myself. I’m still looking.\u003c/p>\n\u003cp>I moved to Oakland with my SOL Development family in the summer of 2015. The year before I moved to D.C., I wrote the song “Brother.” I had no idea that in 2021 I’d break down and cry every time I heard it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896797\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-30.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On October 17, 2019, my brother Demetrius “Meech” Tanner was murdered in Baltimore. My cousin Sandee called me, told me to sit down, and told me he’d been shot. I was doing my sis Lauren’s (of SOL Development) hair. I couldn’t even finish. My partner Nell drove me to Bakersfield to be with my family, and when we got there I laid in the bed with my mom and we cried. We’d been filming the documentary \u003ca href=\"https://www.kqed.org/arts/13889347/sol-development-guides-the-lyrical-doc-when-the-waters-get-deep\" target=\"_blank\" rel=\"noopener noreferrer\">When The Waters Get Deep\u003c/a> for a whole year. I felt so privileged to be in such healing spaces facilitated by BE Imaginative. Those interactions catapulted me into the healing work I began with \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>. And through all the healing work and transitions, I’ve always had to lean into community. That is my sacred place.\u003c/p>\n\u003cp>I became a mother August 30, 2020. My pregnancy was full of mixed emotions. I felt the joy from preparing to bring new life, but there was so much grief. I began going live on Instagram and sang whatever affirmations people would write in the comments. I began to once again feel community. Their affirmations were speaking directly to me, and the grieving that I was running from flowed right out of me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13896796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/Image-from-iOS-32.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As a mother my number-one priority is to always pour into myself in that way, to stay committed to growth and healing, to ritual, to sacred community. I fall short of that often, and try my best to be transparent about that, so that my community can play its part and step in when needed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Being a mother—a Black mother—is the hardest, most rewarding job, but it is impossible without aunties, uncles, cousins, grandmas, grandpas and loved ones.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap",
"title": "Remembering Shock G, the Funky Digital Underground Frontman Who Shaped Oakland Rap",
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"headTitle": "Remembering Shock G, the Funky Digital Underground Frontman Who Shaped Oakland Rap | KQED",
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"content": "\u003cp>Shock G once named himself “the one who put the satin on your panties.”\u003c/p>\n\u003cp>Any deep dive into classic literature, be it \u003cem>Beowulf\u003c/em> or \u003cem>The Iliad\u003c/em>, won’t reveal a more puissant epithet. The passing of the former Digital Underground frontman/avatar comes as a, yes, shock to many, G. It reverberates with the recent passing of iconic rap figures like Black Rob, DMX and MF Doom—a sign that hip-hop has matured to the point where its heroes are becoming ancestors. [aside postid='arts_13895541']\u003c/p>\n\u003cp>As you read this, local social media pages have been filling up with heartfelt tributes and remembrances of Shock, who passed away of unknown causes on April 22 at age 57. (He died in Tampa, Florida, the city where the New York native spent his adolescence and young adulthood before relocating to Oakland.) People have shared stories about buying early cassettes from the artist, real name Gregory Jacobs, on Telegraph Avenue, and discoursing about film, art, and food on tour buses. One story finds him randomly showing up at Albany’s Ivy Room to rock an impromptu 15-minute freestyle, rapping through headphones to Brick’s “Dazz.” There are many other stories circulating about this hip-hop legend, a man who came along at a time when Bay Area hip-hop was beginning to heft national gravitas and helped push it over the hump. His contributions to local music culture remain truly significant. \u003c/p>\n\u003cp>Funny and provocative, Shock allegedly “once got busy in a Burger King bathroom.” But he also put Tupac, Saafir and Mystic on and produced Pac’s “So Many Tears,” “Rebel of the Underground,” and “Changes.” Inspired by Parliament-Funkadelic, Shock dubbed his erstwhile bandmates “Sons of the P” and revived the conceptual approach that separated George Clinton’s groups from the rest of the funkateers, creating urban mythos around aphrodisiac pills and full-body condoms. Underrated as a rapper, he nevertheless contributed a deceptively-smooth verse to perhaps the Bay Area-est rap song of all time, the remix of the Luniz’ “\u003ca href=\"https://youtu.be/CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">I Got Five On It\u003c/a>.” Shock held his ground alongside Yukmouth, Numskull, E-40, Dru Down, Spice-1 and Richie Rich. The half-rapped, half-sung lyrics sum up his ethos: “still bringing satin for them drawers, velvet for the mic, and a pound for the cause.” [aside postid='arts_13839952']\u003c/p>\n\u003cp>Most notably, he led the greatest hip-hop band not named The Roots or Stetsasonic, skillfully blending live instrumentation with P-Funk samples, turntables and rhymes that often ended up being catch phrases. Digital Underground crafted a unique identity in the burgeoning ’90s hip-hop field as the “\u003ca href=\"https://youtu.be/2v2sw89s9wA\" rel=\"noopener noreferrer\" target=\"_blank\">Freaks of the Industry\u003c/a>,” to name-check a classic song from Digital Underground’s 1990 debut album, \u003cem>Sex Packets\u003c/em>, which sold more than one million copies. The song was never officially released as a single. But that didn’t stop the promo-only 12” from becoming a radio and club favorite that still clocked spins and rocked parties decades after its release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/8Ihi-onGULs\u003c/p>\n\u003cp>Despite the salacious overtones of many of their songs, DU were a very nuanced and diverse group who covered a broad range of topics. For all the whimsical humor and self-clowning of their biggest hit, “The Humpty Dance,” they were equally capable of making poignant pleas for unity (“\u003ca href=\"https://youtu.be/CmFDyZ3ytg8\" rel=\"noopener noreferrer\" target=\"_blank\">The Same Song\u003c/a>”), togetherness (“\u003ca href=\"https://youtu.be/BwU8K9WF-bc\" rel=\"noopener noreferrer\" target=\"_blank\">Wassup Wit The Luv?\u003c/a>”) and emotional resonance (“\u003ca href=\"https://youtu.be/-msFXMBn7rQ\" rel=\"noopener noreferrer\" target=\"_blank\">Heartbeat Props\u003c/a>”). They made party anthems like “Doowhutchyalike” and “Kiss You Back,” but also injected social commentary in unexpected places, as on “\u003ca href=\"https://youtu.be/dDy4bp9nKf0\" rel=\"noopener noreferrer\" target=\"_blank\">No Nose Job\u003c/a>,” a subtle dig at artists who dilute their image to chase pop stardom and commercial success. Their live shows were known for their energy—a major reason why they remained a touring act well into the late 2000s.\u003c/p>\n\u003cp>https://youtu.be/PBsjggc5jHM\u003c/p>\n\u003cp>If DU was the hip-hop equivalent of a circus act, Shock G was its ringleader, a man of many talents who rapped, sang, produced, played the piano and designed cover artwork. Years after their success had faded, in 2004, he released a solo album, \u003cem>Fear of a Mixed Planet\u003c/em>—which I flagged as one of the year’s best albums in an \u003ca href=\"https://eastbayexpress.com/new-bay-incarnate-1/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>East Bay Express\u003c/em>\u003c/a> holiday round-up: “Digital Underground founder Shock G will always be linked to his colorful, proboscis-flaunting alter ego Humpty Hump, but there’s more to him than just a nose.” Specifically, the Tupac tribute “Keep It Beautiful” stood out for “a poignancy that has all but disappeared from rap music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the height of their success in the early ’90s, DU toured with Public Enemy. Their show at the Shoreline Amphitheater easily kept pace with Chuck D and Flavor Flav’s frenetic tone. Two decades later, Shock closed Oakland’s Life Is Living festival with a remarkable solo set that showcased all his talents: rapping, singing, and playing the keyboards. The set felt like a gift to Oakland, the adopted home with which he will forever be identified. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shock G once named himself “the one who put the satin on your panties.”\u003c/p>\n\u003cp>Any deep dive into classic literature, be it \u003cem>Beowulf\u003c/em> or \u003cem>The Iliad\u003c/em>, won’t reveal a more puissant epithet. The passing of the former Digital Underground frontman/avatar comes as a, yes, shock to many, G. It reverberates with the recent passing of iconic rap figures like Black Rob, DMX and MF Doom—a sign that hip-hop has matured to the point where its heroes are becoming ancestors. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As you read this, local social media pages have been filling up with heartfelt tributes and remembrances of Shock, who passed away of unknown causes on April 22 at age 57. (He died in Tampa, Florida, the city where the New York native spent his adolescence and young adulthood before relocating to Oakland.) People have shared stories about buying early cassettes from the artist, real name Gregory Jacobs, on Telegraph Avenue, and discoursing about film, art, and food on tour buses. One story finds him randomly showing up at Albany’s Ivy Room to rock an impromptu 15-minute freestyle, rapping through headphones to Brick’s “Dazz.” There are many other stories circulating about this hip-hop legend, a man who came along at a time when Bay Area hip-hop was beginning to heft national gravitas and helped push it over the hump. His contributions to local music culture remain truly significant. \u003c/p>\n\u003cp>Funny and provocative, Shock allegedly “once got busy in a Burger King bathroom.” But he also put Tupac, Saafir and Mystic on and produced Pac’s “So Many Tears,” “Rebel of the Underground,” and “Changes.” Inspired by Parliament-Funkadelic, Shock dubbed his erstwhile bandmates “Sons of the P” and revived the conceptual approach that separated George Clinton’s groups from the rest of the funkateers, creating urban mythos around aphrodisiac pills and full-body condoms. Underrated as a rapper, he nevertheless contributed a deceptively-smooth verse to perhaps the Bay Area-est rap song of all time, the remix of the Luniz’ “\u003ca href=\"https://youtu.be/CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">I Got Five On It\u003c/a>.” Shock held his ground alongside Yukmouth, Numskull, E-40, Dru Down, Spice-1 and Richie Rich. The half-rapped, half-sung lyrics sum up his ethos: “still bringing satin for them drawers, velvet for the mic, and a pound for the cause.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most notably, he led the greatest hip-hop band not named The Roots or Stetsasonic, skillfully blending live instrumentation with P-Funk samples, turntables and rhymes that often ended up being catch phrases. Digital Underground crafted a unique identity in the burgeoning ’90s hip-hop field as the “\u003ca href=\"https://youtu.be/2v2sw89s9wA\" rel=\"noopener noreferrer\" target=\"_blank\">Freaks of the Industry\u003c/a>,” to name-check a classic song from Digital Underground’s 1990 debut album, \u003cem>Sex Packets\u003c/em>, which sold more than one million copies. The song was never officially released as a single. But that didn’t stop the promo-only 12” from becoming a radio and club favorite that still clocked spins and rocked parties decades after its release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8Ihi-onGULs'\n title='//www.youtube.com/embed/8Ihi-onGULs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the salacious overtones of many of their songs, DU were a very nuanced and diverse group who covered a broad range of topics. For all the whimsical humor and self-clowning of their biggest hit, “The Humpty Dance,” they were equally capable of making poignant pleas for unity (“\u003ca href=\"https://youtu.be/CmFDyZ3ytg8\" rel=\"noopener noreferrer\" target=\"_blank\">The Same Song\u003c/a>”), togetherness (“\u003ca href=\"https://youtu.be/BwU8K9WF-bc\" rel=\"noopener noreferrer\" target=\"_blank\">Wassup Wit The Luv?\u003c/a>”) and emotional resonance (“\u003ca href=\"https://youtu.be/-msFXMBn7rQ\" rel=\"noopener noreferrer\" target=\"_blank\">Heartbeat Props\u003c/a>”). They made party anthems like “Doowhutchyalike” and “Kiss You Back,” but also injected social commentary in unexpected places, as on “\u003ca href=\"https://youtu.be/dDy4bp9nKf0\" rel=\"noopener noreferrer\" target=\"_blank\">No Nose Job\u003c/a>,” a subtle dig at artists who dilute their image to chase pop stardom and commercial success. Their live shows were known for their energy—a major reason why they remained a touring act well into the late 2000s.\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/PBsjggc5jHM'\n title='//www.youtube.com/embed/PBsjggc5jHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If DU was the hip-hop equivalent of a circus act, Shock G was its ringleader, a man of many talents who rapped, sang, produced, played the piano and designed cover artwork. Years after their success had faded, in 2004, he released a solo album, \u003cem>Fear of a Mixed Planet\u003c/em>—which I flagged as one of the year’s best albums in an \u003ca href=\"https://eastbayexpress.com/new-bay-incarnate-1/\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>East Bay Express\u003c/em>\u003c/a> holiday round-up: “Digital Underground founder Shock G will always be linked to his colorful, proboscis-flaunting alter ego Humpty Hump, but there’s more to him than just a nose.” Specifically, the Tupac tribute “Keep It Beautiful” stood out for “a poignancy that has all but disappeared from rap music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the height of their success in the early ’90s, DU toured with Public Enemy. Their show at the Shoreline Amphitheater easily kept pace with Chuck D and Flavor Flav’s frenetic tone. Two decades later, Shock closed Oakland’s Life Is Living festival with a remarkable solo set that showcased all his talents: rapping, singing, and playing the keyboards. The set felt like a gift to Oakland, the adopted home with which he will forever be identified. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Shock G, the flamboyant, funny rap artist who brought Oakland hip-hop to a worldwide audience with the group Digital Underground, died Thursday at age 57, according to Digital Underground co-founder \u003ca href=\"https://www.instagram.com/p/CN_QDs7sayF/\" rel=\"noopener noreferrer\" target=\"_blank\">Chopmaster J\u003c/a>. \u003c/p>\n\u003cp>The cause of death is unknown. According to \u003ca href=\"https://www.tmz.com/2021/04/22/shock-g-dead-dies-digital-underground-humpty-dance-tupac/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>, Shock G was found dead in a hotel room in Tampa, with no signs of trauma.\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_QDs7sayF/\u003c/p>\n\u003cp>Shock G, born Greg Jacobs, was best-known for his work with Digital Underground, most notably the worldwide smash “The Humpty Dance,” released in 1990. Carried by Jacobs’ large-nosed persona, the song brought a swampy West Coast funk and dozens of comic one-liners to the national airwaves. The “Humpty Dance” video, filmed at Club Townsend in San Francisco, played in heavy rotation on MTV and VH1 for months during the cable networks’ heyday. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PBsjggc5jHM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\n\u003cp>https://twitter.com/E40/status/1385419121198702593\u003c/p>\n\u003cp>https://twitter.com/Bootsy_Collins/status/1385409370532548609\u003c/p>\n\u003cp>https://twitter.com/SheilaEdrummer/status/1385415157178765317\u003c/p>\n\u003cp>https://twitter.com/JheneAiko/status/1385414176944779264\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_V-xMHPPM/\u003c/p>\n\u003cp>https://twitter.com/Passionweiss/status/1385397407437914114\u003c/p>\n\u003cp>https://twitter.com/2PAC/status/1385407941495300102\u003c/p>\n\u003cp>https://twitter.com/harikondabolu/status/1385416577668063239\u003c/p>\n\u003cp>https://twitter.com/fakeshoredrive/status/1385394592795742208\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/danamo/status/1385406865463414787\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\u003c/p>\u003c/div>",
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"slug": "a-salute-to-san-francisco-rap",
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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\">B\u003c/span>ack in December of 2020, as Vallejo’s E-40 and Oakland’s Too $hort \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">celebrated the Bay’s hip-hop culture\u003c/a> during a Verzuz event, I got to thinking: the East Bay may have its icons, but someone should write about the current state of San Francisco’s rap scene. It’s lightweight on fire.\u003c/p>\n\u003cp>Artists are active. Songs are slapping. Community is coming together. And this might only be \u003cem>the start\u003c/em>. That is, if it’s handled properly. At least that’s what people are telling me.\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>Superstar \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> is on the path to Bieber status. Rapper and \u003ca href=\"https://cookies.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookies\u003c/a> cannabis company founder \u003ca href=\"https://www.instagram.com/berner415/\" target=\"_blank\" rel=\"noopener noreferrer\">Berner\u003c/a> is one of the biggest kingpins in the legal marijuana industry. \u003ca href=\"https://www.instagram.com/larryjunetfm/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> raps about player stuff like expensive watches and green smoothies, has a signature \u003ca href=\"https://www.lakai.com/collections/larry-june\" target=\"_blank\" rel=\"noopener noreferrer\">Lakai shoe\u003c/a> and is behind the\u003ca href=\"https://www.instagram.com/honeybearboba_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Honey Bear boba shop\u003c/a> in the Dogpatch neighborhood—yet somehow still drops albums as often as BART experiences delays. (As he’d say to himself, “Good job, Larry.”) And \u003ca href=\"https://www.instagram.com/empire/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>, arguably the most influential independent rap label in the world right now, is based in San Francisco.\u003c/p>\n\u003cp>But what does this all mean? Is SF having “a moment”? If so, where does this moment stand in the larger scope of things?\u003c/p>\n\u003cp>I started researching by listening to everything from San Francisco I could find.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PqQHpU6Wli4\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\">I\u003c/span> gigged to\u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Lil Kayla\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=_CJkNmPgx6A\" target=\"_blank\" rel=\"noopener noreferrer\">Clone Me\u003c/a>” featuring East Oakland’s\u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Su’lan\u003c/a>. And I bobbed my head to the bars that\u003ca href=\"https://twitter.com/FrakThePerson/status/1364381425953165312?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Frak The Person\u003c/a> kicked over the \u003ca href=\"https://www.instagram.com/explore/tags/bakarybeatchallenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Bakary beat challenge\u003c/a>, which went so stupid \u003ca href=\"https://twitter.com/Kehlani/status/1364635081998880769?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani had to comment\u003c/a>.\u003c/p>\n\u003cp>I read about \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>,\u003c/a> and just watched her latest video for “\u003ca href=\"https://www.youtube.com/watch?v=zfqhEks9mCY\" target=\"_blank\" rel=\"noopener noreferrer\">Setas y Ceros\u003c/a>“—she’s singing and she’s spittin’. I gave that new Show Banga and IAMSU! song, “\u003ca href=\"https://song.link/i/1562344727\" target=\"_blank\" rel=\"noopener noreferrer\">Lonely\u003c/a>” a spin. I added \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One’s\u003c/a> new track “\u003ca href=\"https://www.youtube.com/watch?v=wRk_UNXtpUc\" target=\"_blank\" rel=\"noopener noreferrer\">Fog Mode\u003c/a>” (featuring Andre Nickatina), City P’s “\u003ca href=\"https://soundcloud.com/supastarcity/top-down\" target=\"_blank\" rel=\"noopener noreferrer\">Top Down\u003c/a>” and \u003ca href=\"https://www.instagram.com/p/CNOBPFmBKHM/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yee\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Zbxnbh7o5XE\" target=\"_blank\" rel=\"noopener noreferrer\">Steppin’ On Steppers\u003c/a>” to my playlist.\u003c/p>\n\u003cp>Ahead of an upcoming episode of my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> podcast\u003c/a> I read \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>‘s book \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin\u003c/em>\u003c/a> and reviewed her entire musical catalog. And through a recently published interview with \u003ca href=\"https://www.kqed.org/arts/13895377/these-artists-amplify-415-days-message-of-resistance-resilience-and-restitution\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal for The Kids and Baghead\u003c/a>, I found out about the \u003ca href=\"https://www.instagram.com/oldsoulko/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Soul Kollective\u003c/a>, as well as so many other artists.\u003c/p>\n\u003cp>Yung Lott’s “\u003ca href=\"https://www.youtube.com/watch?v=PqQHpU6Wli4\" target=\"_blank\" rel=\"noopener noreferrer\">How To Survive\u003c/a>” has that classic west coast kick. Galaxy Atoms’ just-dropped “\u003ca href=\"https://www.youtube.com/watch?v=ndK9zBP_O0s\" target=\"_blank\" rel=\"noopener noreferrer\">MVP\u003c/a>” sounds like newer west coast flavor. I know that \u003ca href=\"https://twitter.com/RichieCunning\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> is entertaining on Twitter, as well as on the track. And I know that \u003ca href=\"https://www.instagram.com/adamraps/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Raps\u003c/a>, a.k.a. A-1, just celebrated a birthday and is about to release new music.\u003c/p>\n\u003cp>https://youtu.be/oTBurjAiL2g\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> is headlining \u003ca href=\"https://www.instagram.com/p/CNoGm6YscGB/\" target=\"_blank\" rel=\"noopener noreferrer\">a 415 Day show\u003c/a>, alongside \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">StunnaMan02\u003c/a> (aka Jordan Gomes)—and both Gunna and Gomes are also thespians, featured in the film \u003cem>The Last Black Man in San Francisco\u003c/em>, amongst other projects.\u003c/p>\n\u003cp>I revisited Bby Laana’s “2018 Freestyle” and the “\u003ca href=\"https://www.youtube.com/watch?v=HynpJ0ZHojE\" target=\"_blank\" rel=\"noopener noreferrer\">Lose Control Freestyle\u003c/a>” that she dropped the following year. I listened to \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF’s\u003c/a> \u003cem>Free Play 4 \u003c/em>and a few of the projects he dropped before that. I got put on to \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">So Vicious \u003c/a>and \u003ca href=\"https://www.instagram.com/drew_beez_/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Beez\u003c/a>.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/y0ungbari/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Bari,\u003c/a> \u003ca href=\"https://www.instagram.com/08_zaybang/\" target=\"_blank\" rel=\"noopener noreferrer\">ZayBang\u003c/a> and \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a>, who all, in one way or another, told me the City’s rap scene is definitely having a moment. I read about the recent passing of 11-5’s Maine-O, and I also re-read the circumstances around \u003ca href=\"https://www.latimes.com/california/story/2020-11-30/rapper-lil-yase-shot-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yase’s death\u003c/a>; a sad loss of so much potential.\u003c/p>\n\u003cfigure id=\"attachment_13895805\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_0651.jpg\" alt=\"Hugh E.M.C poses for a photo for his album cover, as drug paraphernalia, a gun and cash lay in front of him.\" width=\"600\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh E.M.C in a photoshoot for his 1994 album ‘The Mob.’ \u003ccite>(Via Hugh E.M.C. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> even went back, and called \u003ca href=\"https://www.instagram.com/hughemc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hugh E.M.C.\u003c/a>, the artist behind the early ’90s song “\u003ca href=\"https://www.youtube.com/watch?v=9o7KJcYEX80\" target=\"_blank\" rel=\"noopener noreferrer\">H N*gga Groove (Keep a B*tch Broke)\u003c/a>.”\u003c/p>\n\u003cp>Hugh, following his\u003cspan style=\"font-weight: 400\"> “\u003ca href=\"https://soundcloud.com/hugh-emc/sets/hiphopmanifesto\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Manifesto\u003c/a>,” is \u003c/span>now encouraging\u003cspan style=\"font-weight: 400\"> artists to put out one conscious song per project. In regards to the current rap scene in San Francisco, he says, \u003c/span>\u003cspan style=\"font-weight: 400\">“This is a \u003cem>type\u003c/em> of moment, but when I compare it to the past, San Francisco artists were having multi-regional, almost national moments… I would love to see it jump to another level.”\u003c/span>\u003c/p>\n\u003cp>I called up another Frisco vet, \u003ca href=\"https://www.instagram.com/equipto_415/\" target=\"_blank\" rel=\"noopener noreferrer\">Equipto\u003c/a>, who also got his start in the ’90s, and is steeped in community activism. He helped launch the anti-police hunger strike by the\u003ca href=\"https://www.sfexaminer.com/news/rapper-frisco-five-protester-equipto-arrested-in-mission-district-confrontation-with-police/\" target=\"_blank\" rel=\"noopener noreferrer\"> Frisco Five\u003c/a> and currently works with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/frisco_copwatch/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Cop Watch\u003c/a>—in addition to advocating for the unsheltered community through\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.poormagazine.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Poor Magazine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Equipto, who recently dropped a new project with \u003ca href=\"https://www.youtube.com/channel/UC9pTDmqO_h7UkQtdAYLCmaQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Watershed\u003c/a>, says, “Frisco ain’t never really had that highlight—the Bay Area might’ve—but Frisco never really had that run. And that’s what’s cultivating right now. There’s more eyes are on San Francisco.”\u003c/p>\n\u003cp>Equipto tells me that SF always had that “underground, solid, rawness of what the industry needed.” But despite the notoriety of artists like Rappin’ 4-Tay and the late Cougnut, “We were just kind of always overlooked in the economics of it,” says Equipto.\u003c/p>\n\u003cfigure id=\"attachment_13895804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg\" alt=\"Big Rich wears a leather letterman jacket and a big chain with his initials as he looks into the lens.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507.jpg 1365w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Rich, cofounder of Project Level, turned “tragedy into triumph.” \u003ccite>(BillionDreams)\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>sk \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener noreferrer\">D.E.O\u003c/a>, founder of the \u003ca href=\"https://twitter.com/trackdout\" target=\"_blank\" rel=\"noopener noreferrer\">Trackdout app\u003c/a> and half of the \u003ca href=\"https://www.instagram.com/evenoddsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Evenodds\u003c/a> production team, and he’ll tell you that he believes there’s something good happening in his city too. But he’s weary of pitfalls that have come about in the past—namely the “politics,” in addition to the economics.\u003c/p>\n\u003cp>“The street politics of the City has been the curse of Frisco,” says D.E.O. “It goes back to RBL. One of the greatest hip-hop groups of all time was dismantled because of street beef.” D.E.O believes the murders of the RBL Posse’s \u003ca href=\"https://www.sfgate.com/news/article/THE-KILLING-STREETS-A-Cycle-of-Vengeance-2839391.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitman and Mr. Cee\u003c/a> played a significant role in labels turning their backs on San Francisco.\u003c/p>\n\u003cp>He tells me that the divisions amongst communities, and the propensity for rappers to keep one foot in the streets while trying to run a legitimate business, have proven to be a major hurdle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of Frisco artists,” says D.E.O, “don’t look at themselves as a commodity, they look at themselves as the savior of the hood—when it’s bigger than the hood. It’s fine to want to save the hood and everything, but you’ve got to think more about the corporate structure. How do real corporations work?”\u003c/span>\u003c/p>\n\u003cp>Richard “\u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>” Bougere is a well-known San Francisco rapper who has some knowledge of how both the rap game and big corporations work.\u003c/p>\n\u003cp>In 2012, Big Rich parlayed his name recognition from music into an arts-based nonprofit for young folks called \u003ca href=\"https://www.projectlevel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Level\u003c/a>, which he co-founded with his partner \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. After an incident in the summer of 2019, where staff of the major fashion retailer Forever 21 mistakenly accused young folks from Project Level of stealing, the two groups met and developed\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/06/20/racial-profiling-incident-at-forever-21-leads-to-remarkable-partnership-for-non-profit-group/\" target=\"_blank\" rel=\"noopener noreferrer\"> a partnership\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We turned tragedy into triumph,” Big Rich tells me during a phone call. “It opened up doors, we have Black equity in a major corporation.” It’s a\u003c/span> big 180° to the way big companies treated Big Rich’s business when he was rapping.\u003c/p>\n\u003cp>Now he wants to see more investment from billion-dollar corporations into the careers of young artists of color. \u003cspan style=\"font-weight: 400\">“This is the culture of the industry, this is where the money is generated from,” says Big Rich of the young people he works with. “We have to reinvest into these communities.”\u003c/span>\u003c/p>\n\u003cp>Through Project Level, Big Rich has also seen how investing in the community can lead to striking gold.\u003c/p>\n\u003cp>https://youtu.be/trU-S53fK04\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\">O\u003c/span>n a rainy April 15th, at a 415 Day celebration in 2018, a young artist named \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> grabbed the microphone. \u003cspan style=\"font-weight: 400\">“H\u003c/span>\u003cspan style=\"font-weight: 400\">e electrified the stage, but no one was really there,” says Big Rich. “I was like, ‘This kid is dope!'”\u003c/span>\u003c/p>\n\u003cp>After learning that 24K Goldn was already en route to USC in the fall, Big Rich connected him to a manager in Southern California. Now 24K Goldn, who went \u003ca href=\"https://twitter.com/24kGoldn/status/1258103370562146304?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">platinum last year\u003c/a> and just dropped a new album, \u003cem>El Dorado\u003c/em>, a month ago,\u003cspan style=\"font-weight: 400\"> “is arguably the hottest artist in the country right now,” according to Big Rich—and the \u003ca href=\"https://www.billboard.com/music/24kgoldn\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard charts\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>Now the question is, how can more San Francisco artists shine like 24K Goldn?\u003c/p>\n\u003cp>It’s a question that’s not just about talent. It’s about “politics,” structure and business acumen. It’s about navigating the high cost of living. And, for some, it’s about being a member of the small percentage of working class Black and brown folks struggling to make ends meet in one the world’s most expensive cities—and still make art.\u003c/p>\n\u003cp>How?\u003c/p>\n\u003cp>“Ghazi at Empire has a plan,” Big Rich tells me. “He’s investing in artists in the City, and I think it’s going to pay off.”\u003c/p>\n\u003cfigure id=\"attachment_13895809\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg\" alt=\"The cover of 'Zaytoven Presents Fo15,' released by Empire. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Zaytoven Presents Fo15,’ released by Empire.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> didn’t realize we were having a moment,” Ghazi says during a Zoom call earlier this week. “I was trying to create a moment.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ghazi/\" target=\"_blank\" rel=\"noopener noreferrer\">Ghazi\u003c/a> is the head of the major independent label Empire, and the A&R behind the newly released album, \u003cem>Zaytoven Presents:\u003c/em> \u003cem>\u003ca href=\"https://www.empi.re/listen/index.php?id=172356\" target=\"_blank\" rel=\"noopener noreferrer\">Fo15\u003c/a>\u003c/em>, which celebrates some of San Francisco’s rawest talent.\u003c/p>\n\u003cp>The album is produced by San Francisco’s own mega-producer \u003ca href=\"https://www.instagram.com/zaytovenbeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Zaytoven\u003c/a>, known for his collaborations with southern rappers like Gucci Mane. The album features members of Frisco’s next wave of stars: Lil Bean, ZayBang, Prezi, Kxng Lamma and Lil Pete.\u003c/p>\n\u003cp>Ghazi, who grew up listening to artists like \u003ca href=\"https://www.discogs.com/artist/338893-IMP\" target=\"_blank\" rel=\"noopener noreferrer\">I.M.P\u003c/a>. and the \u003ca href=\"https://www.discogs.com/artist/332457-Get-Low-Playaz\" target=\"_blank\" rel=\"noopener noreferrer\">Get Low Playaz\u003c/a>, says, “A big part of putting this project together was to do for the next generation what those artists did for me, which is creating bigger and better things.”\u003c/p>\n\u003cp>He says that in the past, a lot of the issues the City’s rap scene faced were “due to lack of infrastructure, lack of proper mentorship, the political landscape that surrounds a lot of the neighborhoods, the socioeconomics,” and a bunch of other things going on in the City. But now there’s potential do things differently.\u003c/p>\n\u003cp>Ghazi makes a basketball comparison, saying that an artist putting up great individual stats isn’t the same as the whole team putting up great stats, or having a coaching staff that can compete with the rest of the league. “We’ve always had the talented players,” says Ghazi of San Francisco’s artists. “But we never had the franchise, we never had the coaching staff, and we never ran an 82 game season.”\u003c/p>\n\u003cp>https://youtu.be/uZpWqUpAbbo\u003c/p>\n\u003cp>“In my mind, San Francisco is not having a moment,” Ghazi tells me over the video chat as he drives through East Oakland. “In my mind, the whole entire Bay Area has been dry for quite some time, and most people have no idea what the glory years were like in the Bay… \u003cspan style=\"font-weight: 400\">There’s a little bit of something happening, and I wouldn’t call it a moment, but there’s potential for a great moment if we stay on it. I wouldn’t call it a moment, yet.”\u003c/span>\u003c/p>\n\u003cp>One of the primary hurdles the City faces is the issue with talent leaving—not just artists, but talented people who work behind the scenes in businesses that support the industry. That’s why Ghazi’s been mindful to keep his company in San Francisco and create space for culture to flourish.\u003c/p>\n\u003cp>“This album is proof of the factory existing,” says Ghazi of the \u003cem>Fo15\u003c/em> project.\u003c/p>\n\u003cp>And now, in order to get to that true “moment”—or rather, a time period of extended success for San Francisco—Ghazi has a simple formula.\u003c/p>\n\u003cp>“We gotta tell our story,” Ghazi tells me. He’s firm in his beliefs that people should know and be proud of all of the talent that has come from San Francisco—from Andre Nickatina to Apple’s \u003ca href=\"https://www.instagram.com/thelarryjackson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Jackson\u003c/a> (who plays a significant role in making those \u003ca href=\"https://appleinsider.com/articles/20/08/13/apple-musics-larry-jackson-weighs-in-on-verzuz-collaboration\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz events\u003c/a> happen) and back to every rapper named in this article.\u003c/p>\n\u003cp>“The more individual success stories you create, you raise the economy of the region,” says Ghazi. “When you raise the overall economy of the region, people are less inclined to leave the region because they have something to do. And when people don’t leave, you keep the talent in.”\u003c/p>\n\u003cp>As a kid from Oakland who grew up listening to E-40 and Too $hort, as well as Messy Marv, JT the Bigga Figga, and San Quinn, I get it. We’re a vast region with different cultures in each city, neighborhood and block. That said, when one section is going about their business correctly, the honorable thing to do is give them a salute.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>San Francisco, here’s to you.\u003c/p>\n\n",
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"excerpt": "The City got somethin' to say, that's all I got to say.",
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"title": "A Salute to San Francisco Rap | KQED",
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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\">B\u003c/span>ack in December of 2020, as Vallejo’s E-40 and Oakland’s Too $hort \u003ca href=\"https://www.kqed.org/arts/13890437/e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture\" target=\"_blank\" rel=\"noopener noreferrer\">celebrated the Bay’s hip-hop culture\u003c/a> during a Verzuz event, I got to thinking: the East Bay may have its icons, but someone should write about the current state of San Francisco’s rap scene. It’s lightweight on fire.\u003c/p>\n\u003cp>Artists are active. Songs are slapping. Community is coming together. And this might only be \u003cem>the start\u003c/em>. That is, if it’s handled properly. At least that’s what people are telling me.\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>Superstar \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> is on the path to Bieber status. Rapper and \u003ca href=\"https://cookies.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookies\u003c/a> cannabis company founder \u003ca href=\"https://www.instagram.com/berner415/\" target=\"_blank\" rel=\"noopener noreferrer\">Berner\u003c/a> is one of the biggest kingpins in the legal marijuana industry. \u003ca href=\"https://www.instagram.com/larryjunetfm/\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a> raps about player stuff like expensive watches and green smoothies, has a signature \u003ca href=\"https://www.lakai.com/collections/larry-june\" target=\"_blank\" rel=\"noopener noreferrer\">Lakai shoe\u003c/a> and is behind the\u003ca href=\"https://www.instagram.com/honeybearboba_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Honey Bear boba shop\u003c/a> in the Dogpatch neighborhood—yet somehow still drops albums as often as BART experiences delays. (As he’d say to himself, “Good job, Larry.”) And \u003ca href=\"https://www.instagram.com/empire/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>, arguably the most influential independent rap label in the world right now, is based in San Francisco.\u003c/p>\n\u003cp>But what does this all mean? Is SF having “a moment”? If so, where does this moment stand in the larger scope of things?\u003c/p>\n\u003cp>I started researching by listening to everything from San Francisco I could find.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PqQHpU6Wli4'\n title='//www.youtube.com/embed/PqQHpU6Wli4'\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\">I\u003c/span> gigged to\u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Lil Kayla\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=_CJkNmPgx6A\" target=\"_blank\" rel=\"noopener noreferrer\">Clone Me\u003c/a>” featuring East Oakland’s\u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Su’lan\u003c/a>. And I bobbed my head to the bars that\u003ca href=\"https://twitter.com/FrakThePerson/status/1364381425953165312?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> Frak The Person\u003c/a> kicked over the \u003ca href=\"https://www.instagram.com/explore/tags/bakarybeatchallenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Bakary beat challenge\u003c/a>, which went so stupid \u003ca href=\"https://twitter.com/Kehlani/status/1364635081998880769?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani had to comment\u003c/a>.\u003c/p>\n\u003cp>I read about \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> in the \u003ca href=\"https://www.nytimes.com/interactive/2021/03/10/magazine/la-dona.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>,\u003c/a> and just watched her latest video for “\u003ca href=\"https://www.youtube.com/watch?v=zfqhEks9mCY\" target=\"_blank\" rel=\"noopener noreferrer\">Setas y Ceros\u003c/a>“—she’s singing and she’s spittin’. I gave that new Show Banga and IAMSU! song, “\u003ca href=\"https://song.link/i/1562344727\" target=\"_blank\" rel=\"noopener noreferrer\">Lonely\u003c/a>” a spin. I added \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One’s\u003c/a> new track “\u003ca href=\"https://www.youtube.com/watch?v=wRk_UNXtpUc\" target=\"_blank\" rel=\"noopener noreferrer\">Fog Mode\u003c/a>” (featuring Andre Nickatina), City P’s “\u003ca href=\"https://soundcloud.com/supastarcity/top-down\" target=\"_blank\" rel=\"noopener noreferrer\">Top Down\u003c/a>” and \u003ca href=\"https://www.instagram.com/p/CNOBPFmBKHM/\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yee\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?app=desktop&v=Zbxnbh7o5XE\" target=\"_blank\" rel=\"noopener noreferrer\">Steppin’ On Steppers\u003c/a>” to my playlist.\u003c/p>\n\u003cp>Ahead of an upcoming episode of my \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> podcast\u003c/a> I read \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a>‘s book \u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin\u003c/em>\u003c/a> and reviewed her entire musical catalog. And through a recently published interview with \u003ca href=\"https://www.kqed.org/arts/13895377/these-artists-amplify-415-days-message-of-resistance-resilience-and-restitution\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal for The Kids and Baghead\u003c/a>, I found out about the \u003ca href=\"https://www.instagram.com/oldsoulko/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Soul Kollective\u003c/a>, as well as so many other artists.\u003c/p>\n\u003cp>Yung Lott’s “\u003ca href=\"https://www.youtube.com/watch?v=PqQHpU6Wli4\" target=\"_blank\" rel=\"noopener noreferrer\">How To Survive\u003c/a>” has that classic west coast kick. Galaxy Atoms’ just-dropped “\u003ca href=\"https://www.youtube.com/watch?v=ndK9zBP_O0s\" target=\"_blank\" rel=\"noopener noreferrer\">MVP\u003c/a>” sounds like newer west coast flavor. I know that \u003ca href=\"https://twitter.com/RichieCunning\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> is entertaining on Twitter, as well as on the track. And I know that \u003ca href=\"https://www.instagram.com/adamraps/\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Raps\u003c/a>, a.k.a. A-1, just celebrated a birthday and is about to release new music.\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/oTBurjAiL2g'\n title='//www.youtube.com/embed/oTBurjAiL2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> is headlining \u003ca href=\"https://www.instagram.com/p/CNoGm6YscGB/\" target=\"_blank\" rel=\"noopener noreferrer\">a 415 Day show\u003c/a>, alongside \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">StunnaMan02\u003c/a> (aka Jordan Gomes)—and both Gunna and Gomes are also thespians, featured in the film \u003cem>The Last Black Man in San Francisco\u003c/em>, amongst other projects.\u003c/p>\n\u003cp>I revisited Bby Laana’s “2018 Freestyle” and the “\u003ca href=\"https://www.youtube.com/watch?v=HynpJ0ZHojE\" target=\"_blank\" rel=\"noopener noreferrer\">Lose Control Freestyle\u003c/a>” that she dropped the following year. I listened to \u003ca href=\"https://www.instagram.com/troyllf/\" target=\"_blank\" rel=\"noopener noreferrer\">Troy LLF’s\u003c/a> \u003cem>Free Play 4 \u003c/em>and a few of the projects he dropped before that. I got put on to \u003ca href=\"https://www.instagram.com/soviciousofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">So Vicious \u003c/a>and \u003ca href=\"https://www.instagram.com/drew_beez_/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Beez\u003c/a>.\u003c/p>\n\u003cp>I talked to \u003ca href=\"https://www.instagram.com/y0ungbari/\" target=\"_blank\" rel=\"noopener noreferrer\">Young Bari,\u003c/a> \u003ca href=\"https://www.instagram.com/08_zaybang/\" target=\"_blank\" rel=\"noopener noreferrer\">ZayBang\u003c/a> and \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a>, who all, in one way or another, told me the City’s rap scene is definitely having a moment. I read about the recent passing of 11-5’s Maine-O, and I also re-read the circumstances around \u003ca href=\"https://www.latimes.com/california/story/2020-11-30/rapper-lil-yase-shot-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Yase’s death\u003c/a>; a sad loss of so much potential.\u003c/p>\n\u003cfigure id=\"attachment_13895805\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13895805\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_0651.jpg\" alt=\"Hugh E.M.C poses for a photo for his album cover, as drug paraphernalia, a gun and cash lay in front of him.\" width=\"600\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_0651-160x109.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Hugh E.M.C in a photoshoot for his 1994 album ‘The Mob.’ \u003ccite>(Via Hugh E.M.C. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> even went back, and called \u003ca href=\"https://www.instagram.com/hughemc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Hugh E.M.C.\u003c/a>, the artist behind the early ’90s song “\u003ca href=\"https://www.youtube.com/watch?v=9o7KJcYEX80\" target=\"_blank\" rel=\"noopener noreferrer\">H N*gga Groove (Keep a B*tch Broke)\u003c/a>.”\u003c/p>\n\u003cp>Hugh, following his\u003cspan style=\"font-weight: 400\"> “\u003ca href=\"https://soundcloud.com/hugh-emc/sets/hiphopmanifesto\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Manifesto\u003c/a>,” is \u003c/span>now encouraging\u003cspan style=\"font-weight: 400\"> artists to put out one conscious song per project. In regards to the current rap scene in San Francisco, he says, \u003c/span>\u003cspan style=\"font-weight: 400\">“This is a \u003cem>type\u003c/em> of moment, but when I compare it to the past, San Francisco artists were having multi-regional, almost national moments… I would love to see it jump to another level.”\u003c/span>\u003c/p>\n\u003cp>I called up another Frisco vet, \u003ca href=\"https://www.instagram.com/equipto_415/\" target=\"_blank\" rel=\"noopener noreferrer\">Equipto\u003c/a>, who also got his start in the ’90s, and is steeped in community activism. He helped launch the anti-police hunger strike by the\u003ca href=\"https://www.sfexaminer.com/news/rapper-frisco-five-protester-equipto-arrested-in-mission-district-confrontation-with-police/\" target=\"_blank\" rel=\"noopener noreferrer\"> Frisco Five\u003c/a> and currently works with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/frisco_copwatch/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Cop Watch\u003c/a>—in addition to advocating for the unsheltered community through\u003c/span> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.poormagazine.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Poor Magazine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>Equipto, who recently dropped a new project with \u003ca href=\"https://www.youtube.com/channel/UC9pTDmqO_h7UkQtdAYLCmaQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Watershed\u003c/a>, says, “Frisco ain’t never really had that highlight—the Bay Area might’ve—but Frisco never really had that run. And that’s what’s cultivating right now. There’s more eyes are on San Francisco.”\u003c/p>\n\u003cp>Equipto tells me that SF always had that “underground, solid, rawness of what the industry needed.” But despite the notoriety of artists like Rappin’ 4-Tay and the late Cougnut, “We were just kind of always overlooked in the economics of it,” says Equipto.\u003c/p>\n\u003cfigure id=\"attachment_13895804\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895804\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg\" alt=\"Big Rich wears a leather letterman jacket and a big chain with his initials as he looks into the lens.\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/IMG_2507.jpg 1365w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Big Rich, cofounder of Project Level, turned “tragedy into triumph.” \u003ccite>(BillionDreams)\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>sk \u003ca href=\"https://www.instagram.com/deo415/\" target=\"_blank\" rel=\"noopener noreferrer\">D.E.O\u003c/a>, founder of the \u003ca href=\"https://twitter.com/trackdout\" target=\"_blank\" rel=\"noopener noreferrer\">Trackdout app\u003c/a> and half of the \u003ca href=\"https://www.instagram.com/evenoddsmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Evenodds\u003c/a> production team, and he’ll tell you that he believes there’s something good happening in his city too. But he’s weary of pitfalls that have come about in the past—namely the “politics,” in addition to the economics.\u003c/p>\n\u003cp>“The street politics of the City has been the curse of Frisco,” says D.E.O. “It goes back to RBL. One of the greatest hip-hop groups of all time was dismantled because of street beef.” D.E.O believes the murders of the RBL Posse’s \u003ca href=\"https://www.sfgate.com/news/article/THE-KILLING-STREETS-A-Cycle-of-Vengeance-2839391.php\" target=\"_blank\" rel=\"noopener noreferrer\">Hitman and Mr. Cee\u003c/a> played a significant role in labels turning their backs on San Francisco.\u003c/p>\n\u003cp>He tells me that the divisions amongst communities, and the propensity for rappers to keep one foot in the streets while trying to run a legitimate business, have proven to be a major hurdle.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A lot of Frisco artists,” says D.E.O, “don’t look at themselves as a commodity, they look at themselves as the savior of the hood—when it’s bigger than the hood. It’s fine to want to save the hood and everything, but you’ve got to think more about the corporate structure. How do real corporations work?”\u003c/span>\u003c/p>\n\u003cp>Richard “\u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>” Bougere is a well-known San Francisco rapper who has some knowledge of how both the rap game and big corporations work.\u003c/p>\n\u003cp>In 2012, Big Rich parlayed his name recognition from music into an arts-based nonprofit for young folks called \u003ca href=\"https://www.projectlevel.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Project Level\u003c/a>, which he co-founded with his partner \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. After an incident in the summer of 2019, where staff of the major fashion retailer Forever 21 mistakenly accused young folks from Project Level of stealing, the two groups met and developed\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/06/20/racial-profiling-incident-at-forever-21-leads-to-remarkable-partnership-for-non-profit-group/\" target=\"_blank\" rel=\"noopener noreferrer\"> a partnership\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We turned tragedy into triumph,” Big Rich tells me during a phone call. “It opened up doors, we have Black equity in a major corporation.” It’s a\u003c/span> big 180° to the way big companies treated Big Rich’s business when he was rapping.\u003c/p>\n\u003cp>Now he wants to see more investment from billion-dollar corporations into the careers of young artists of color. \u003cspan style=\"font-weight: 400\">“This is the culture of the industry, this is where the money is generated from,” says Big Rich of the young people he works with. “We have to reinvest into these communities.”\u003c/span>\u003c/p>\n\u003cp>Through Project Level, Big Rich has also seen how investing in the community can lead to striking gold.\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/trU-S53fK04'\n title='//www.youtube.com/embed/trU-S53fK04'\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\">O\u003c/span>n a rainy April 15th, at a 415 Day celebration in 2018, a young artist named \u003ca href=\"https://www.instagram.com/24kgoldn/\" target=\"_blank\" rel=\"noopener noreferrer\">24K Goldn\u003c/a> grabbed the microphone. \u003cspan style=\"font-weight: 400\">“H\u003c/span>\u003cspan style=\"font-weight: 400\">e electrified the stage, but no one was really there,” says Big Rich. “I was like, ‘This kid is dope!'”\u003c/span>\u003c/p>\n\u003cp>After learning that 24K Goldn was already en route to USC in the fall, Big Rich connected him to a manager in Southern California. Now 24K Goldn, who went \u003ca href=\"https://twitter.com/24kGoldn/status/1258103370562146304?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">platinum last year\u003c/a> and just dropped a new album, \u003cem>El Dorado\u003c/em>, a month ago,\u003cspan style=\"font-weight: 400\"> “is arguably the hottest artist in the country right now,” according to Big Rich—and the \u003ca href=\"https://www.billboard.com/music/24kgoldn\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard charts\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>Now the question is, how can more San Francisco artists shine like 24K Goldn?\u003c/p>\n\u003cp>It’s a question that’s not just about talent. It’s about “politics,” structure and business acumen. It’s about navigating the high cost of living. And, for some, it’s about being a member of the small percentage of working class Black and brown folks struggling to make ends meet in one the world’s most expensive cities—and still make art.\u003c/p>\n\u003cp>How?\u003c/p>\n\u003cp>“Ghazi at Empire has a plan,” Big Rich tells me. “He’s investing in artists in the City, and I think it’s going to pay off.”\u003c/p>\n\u003cfigure id=\"attachment_13895809\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg\" alt=\"The cover of 'Zaytoven Presents Fo15,' released by Empire. \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/unnamed-2021-04-09T131257.477.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Zaytoven Presents Fo15,’ released by Empire.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> didn’t realize we were having a moment,” Ghazi says during a Zoom call earlier this week. “I was trying to create a moment.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ghazi/\" target=\"_blank\" rel=\"noopener noreferrer\">Ghazi\u003c/a> is the head of the major independent label Empire, and the A&R behind the newly released album, \u003cem>Zaytoven Presents:\u003c/em> \u003cem>\u003ca href=\"https://www.empi.re/listen/index.php?id=172356\" target=\"_blank\" rel=\"noopener noreferrer\">Fo15\u003c/a>\u003c/em>, which celebrates some of San Francisco’s rawest talent.\u003c/p>\n\u003cp>The album is produced by San Francisco’s own mega-producer \u003ca href=\"https://www.instagram.com/zaytovenbeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Zaytoven\u003c/a>, known for his collaborations with southern rappers like Gucci Mane. The album features members of Frisco’s next wave of stars: Lil Bean, ZayBang, Prezi, Kxng Lamma and Lil Pete.\u003c/p>\n\u003cp>Ghazi, who grew up listening to artists like \u003ca href=\"https://www.discogs.com/artist/338893-IMP\" target=\"_blank\" rel=\"noopener noreferrer\">I.M.P\u003c/a>. and the \u003ca href=\"https://www.discogs.com/artist/332457-Get-Low-Playaz\" target=\"_blank\" rel=\"noopener noreferrer\">Get Low Playaz\u003c/a>, says, “A big part of putting this project together was to do for the next generation what those artists did for me, which is creating bigger and better things.”\u003c/p>\n\u003cp>He says that in the past, a lot of the issues the City’s rap scene faced were “due to lack of infrastructure, lack of proper mentorship, the political landscape that surrounds a lot of the neighborhoods, the socioeconomics,” and a bunch of other things going on in the City. But now there’s potential do things differently.\u003c/p>\n\u003cp>Ghazi makes a basketball comparison, saying that an artist putting up great individual stats isn’t the same as the whole team putting up great stats, or having a coaching staff that can compete with the rest of the league. “We’ve always had the talented players,” says Ghazi of San Francisco’s artists. “But we never had the franchise, we never had the coaching staff, and we never ran an 82 game season.”\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/uZpWqUpAbbo'\n title='//www.youtube.com/embed/uZpWqUpAbbo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In my mind, San Francisco is not having a moment,” Ghazi tells me over the video chat as he drives through East Oakland. “In my mind, the whole entire Bay Area has been dry for quite some time, and most people have no idea what the glory years were like in the Bay… \u003cspan style=\"font-weight: 400\">There’s a little bit of something happening, and I wouldn’t call it a moment, but there’s potential for a great moment if we stay on it. I wouldn’t call it a moment, yet.”\u003c/span>\u003c/p>\n\u003cp>One of the primary hurdles the City faces is the issue with talent leaving—not just artists, but talented people who work behind the scenes in businesses that support the industry. That’s why Ghazi’s been mindful to keep his company in San Francisco and create space for culture to flourish.\u003c/p>\n\u003cp>“This album is proof of the factory existing,” says Ghazi of the \u003cem>Fo15\u003c/em> project.\u003c/p>\n\u003cp>And now, in order to get to that true “moment”—or rather, a time period of extended success for San Francisco—Ghazi has a simple formula.\u003c/p>\n\u003cp>“We gotta tell our story,” Ghazi tells me. He’s firm in his beliefs that people should know and be proud of all of the talent that has come from San Francisco—from Andre Nickatina to Apple’s \u003ca href=\"https://www.instagram.com/thelarryjackson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry Jackson\u003c/a> (who plays a significant role in making those \u003ca href=\"https://appleinsider.com/articles/20/08/13/apple-musics-larry-jackson-weighs-in-on-verzuz-collaboration\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz events\u003c/a> happen) and back to every rapper named in this article.\u003c/p>\n\u003cp>“The more individual success stories you create, you raise the economy of the region,” says Ghazi. “When you raise the overall economy of the region, people are less inclined to leave the region because they have something to do. And when people don’t leave, you keep the talent in.”\u003c/p>\n\u003cp>As a kid from Oakland who grew up listening to E-40 and Too $hort, as well as Messy Marv, JT the Bigga Figga, and San Quinn, I get it. We’re a vast region with different cultures in each city, neighborhood and block. That said, when one section is going about their business correctly, the honorable thing to do is give them a salute.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>San Francisco, here’s to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For a Young Girl in the Bay Area, DMX Made Sense of Life's Emotional Complexities",
"headTitle": "For a Young Girl in the Bay Area, DMX Made Sense of Life’s Emotional Complexities | KQED",
"content": "\u003cp>When I was twelve years old, I’d ride BART each week to \u003ca href=\"https://mccatheater.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Arts Center\u003c/a> in Oakland to attend hip-hop dance class. There, one of the first dance routines I learned was set to DMX’s “\u003ca href=\"https://www.youtube.com/watch?v=ThlhSnRk21E\" rel=\"noopener noreferrer\" target=\"_blank\">Ruff Ryders Anthem\u003c/a>.” \u003c/p>\n\u003cp>Can you imagine a room full of pre-teen Black girls, giving their heart and soul to movement, while DMX’s voice rings out with passion over Swizz Beatz’s siren-like production? To this day, it’s one of the most exhilarating dance performances I’ve ever done. We didn’t really know what the song was about, but we felt the urgency in DMX’s voice, and it made us feel alive. Like we could dance forever.\u003c/p>\n\u003cp>[aside postID='arts_13895484']This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4AognXgM9FQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9Ww-TQUeA3E\u003c/p>\n\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was twelve years old, I’d ride BART each week to \u003ca href=\"https://mccatheater.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Arts Center\u003c/a> in Oakland to attend hip-hop dance class. There, one of the first dance routines I learned was set to DMX’s “\u003ca href=\"https://www.youtube.com/watch?v=ThlhSnRk21E\" rel=\"noopener noreferrer\" target=\"_blank\">Ruff Ryders Anthem\u003c/a>.” \u003c/p>\n\u003cp>Can you imagine a room full of pre-teen Black girls, giving their heart and soul to movement, while DMX’s voice rings out with passion over Swizz Beatz’s siren-like production? To this day, it’s one of the most exhilarating dance performances I’ve ever done. We didn’t really know what the song was about, but we felt the urgency in DMX’s voice, and it made us feel alive. Like we could dance forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \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/4AognXgM9FQ'\n title='//www.youtube.com/embed/4AognXgM9FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\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/9Ww-TQUeA3E'\n title='//www.youtube.com/embed/9Ww-TQUeA3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "These Artists Amplify 415 Day's Message of Resistance, Resilience and Restitution",
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"content": "\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=KQINC4647142472&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few days ahead of April 15th — 415 Day — we’re talking to two artists from San Francisco who have lived, fought, partied, and made art for their hometown.\u003c/p>\n\u003cp>Jules Retzlaff (\u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>) and Sachiel Rosen (\u003ca href=\"https://www.instagram.com/baghead.osk/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>) are the duo behind the film and album, \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">Dedicated To Those Who\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cWmX3Y5GnP8\u003c/p>\n\u003cp>Cereal For The Kids produced the film, which highlights one of the most picturesque cities in the world, some people who make it what it is and the history that brought us here.\u003c/p>\n\u003cp>Baghead is the producer behind \u003ca href=\"https://www.audiovandals.com/baghead\" target=\"_blank\" rel=\"noopener noreferrer\">the audio portion\u003c/a> of the project, which serves as the soundtrack to the film. His album incorporates quotes from luminaries — like Toni Morrison, Nipsey Hussle and James Baldwin — as they speak to topics that transcend the boundaries of San Francisco’s seven mile by seven mile grid.\u003c/p>\n\u003cp>This week, we’re talking San Francisco’s art and activism, its history and its homies.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Baghead and Cereal For The Kids.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any message you want to share with the world as it relates to 415 day?\u003c/em>\u003c/p>\n\u003cp>Baghead: [415 Day] highlights how the people of San Francisco have always pushed back against forces that don’t want to respect them. It’s saying this is our land, this is the people’s, we want to grow our crops here we wanna grow our families here. And you can extend that idea to the world. This is the people’s world… We can’t keep building from these places of anger and hurt and pain. We have to enjoy our life and the people around us so that we can be invigorated and charged up to go do that work.\u003c/p>\n\u003cp>\u003cem>Pen: What is the intended purpose of the film “Dedicated To Those Who”?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: This is a love letter to the people who fight every day for the City, who fight to be here. And it’s also a call to action. You know, if you aren’t already throwing down, this is the time and we live in a very particular historical moment where we can make great change that lasts for generations. And we should celebrate that too and get hyphy, have a lot of fun, talk shit and drink 40s, but also, you know, do it and then show up at city hall the next day.\u003c/p>\n\u003cp>Baghead: We explore the role of artistry inside of a community revolution and love. And it’s not pretty and it’s not perfect, but it is really beautiful. And that kind of goes back to at the very end of the album, James Baldwin is talking…\u003c/p>\n\u003cp>Baldwin: “Your suffering does not isolate you but is your bridge, and many people have suffered before you, people have been suffering around you and always will…. All you can do is bring a little light into that suffering… We don’t change anything all we can do is invest people with the moral to change it for themselves”\u003c/p>\n\u003cp>Baghead: … We don’t change anything, we just give people a place to figure out their reality and learn how to engage with engage in it in a way that is going to create change.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Gotcha. And while Baghead held down the audio side of things, [Cereal For The Kids], you were behind the visuals.\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: The imagery is all reminiscent of our families histories. Like my father has lived in San Francisco since the 70s and was organizing. It’s an homage to folks here and gone, and the solidarity we have for each other… generations gone past… When our families migrated here 10 years ago, that struggle that brought them here is part of that intergenerational movement and that struggle in the city too.\u003c/p>\n\u003cp>\u003cem>Pen: There’s a lot of different footage, there’s ethnic studies footage, there’s some from labor strike. What footage are we looking at in terms of protest imagery?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: There’s footage from the Frisco 500 action where folks stormed city hall. Mario Woods was murdered in 2015. And then in 2016 is when organizing really kicked off. There’s also footage of the White Night riots when Dan White murdered Harvey Milk — which is an homage to the gay rights movement in the city, another moment in which city hall was stormed. So just trying to juxtapose historical moments to the ones we’re currently experiencing and trying to let folks know that history is a cycle, but we have the chance to break that cycle if we pay attention to it.\u003c/p>\n\u003cp>\u003cem>Pen: Baghead, Mario Woods, the organizing that happened around his killing, how did that politicize you and how does that show up in your art today?\u003c/em>\u003c/p>\n\u003cp>Baghead: That moment was kind of everything for me. Around the same time Mario Woods got killed, the administration at SF State was trying to cut funding to ethnic studies. And there was a huge march to expose the administration for cutting that funding. And relating it to the history of there being no space for Black and brown voices, or for working class voices.\u003c/p>\n\u003cp>\u003cem>Pen: Were you a part of the hunger strike that happened? At SF state?\u003c/em>\u003c/p>\n\u003cp>Baghead: Well, myself, [Cereal For the Kids], Ahkeel and Hassani went on hunger strike at SF state to push the administration to not cut funding as well as the other other list of demands.\u003c/p>\n\u003cp>\u003cem>Pen: How’d that go? How’d it end?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: It’s complicated, a lot of mistakes, a lot of good things too. We were able to fight the cuts but we did not make all our wins: the need for the expansion of programs that were not getting the funding they deserved. It was a big learning lesson for us as new organizers. But I think it also helped rejuvenate some stuff at State and was a really important politicizing moment for a lot of people.\u003c/p>\n\u003cp>\u003cem>Pen: You’re doing this work and you are in the City where it’s expensive as hell. How do you keep it together? How do you work with this collective group of people? I imagine it’s got to be tough.\u003c/em>\u003c/p>\n\u003cp>Baghead: Being an artist is hard as it is, but when everyone has a job, and on top of it, they have to work as much as they can to be able to live here, it makes it hard to collaborate in a healthy way. Ya know, a lot of us have these moments of being burnt out, but it’s the passion that keeps us going.\u003c/p>\n\u003cp>Cereal For The Kids: There’s a lot of mutual aid. There’s a lot of… we’re helping each other, all of us in our community deeply care about one another, have such fucking love.\u003c/p>\n\u003cp>Baghead: We’re not really sure how we’re going to make this city, from top down care about the people who built the city. We’re not sure how we’re going to make this a better world. We’re not sure how we’re going to make our dreams come true, but we believe in it. So go finish that sentence for us. Figure out your role, figure out, help us out, help yourself out.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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=KQINC4647142472&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A few days ahead of April 15th — 415 Day — we’re talking to two artists from San Francisco who have lived, fought, partied, and made art for their hometown.\u003c/p>\n\u003cp>Jules Retzlaff (\u003ca href=\"https://www.instagram.com/cerealforthekids/\" target=\"_blank\" rel=\"noopener noreferrer\">Cereal For The Kids\u003c/a>) and Sachiel Rosen (\u003ca href=\"https://www.instagram.com/baghead.osk/\" target=\"_blank\" rel=\"noopener noreferrer\">Baghead\u003c/a>) are the duo behind the film and album, \u003ca href=\"https://www.youtube.com/watch?v=cWmX3Y5GnP8\" target=\"_blank\" rel=\"noopener noreferrer\">Dedicated To Those Who\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cWmX3Y5GnP8'\n title='//www.youtube.com/embed/cWmX3Y5GnP8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cereal For The Kids produced the film, which highlights one of the most picturesque cities in the world, some people who make it what it is and the history that brought us here.\u003c/p>\n\u003cp>Baghead is the producer behind \u003ca href=\"https://www.audiovandals.com/baghead\" target=\"_blank\" rel=\"noopener noreferrer\">the audio portion\u003c/a> of the project, which serves as the soundtrack to the film. His album incorporates quotes from luminaries — like Toni Morrison, Nipsey Hussle and James Baldwin — as they speak to topics that transcend the boundaries of San Francisco’s seven mile by seven mile grid.\u003c/p>\n\u003cp>This week, we’re talking San Francisco’s art and activism, its history and its homies.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Baghead and Cereal For The Kids.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Are there any message you want to share with the world as it relates to 415 day?\u003c/em>\u003c/p>\n\u003cp>Baghead: [415 Day] highlights how the people of San Francisco have always pushed back against forces that don’t want to respect them. It’s saying this is our land, this is the people’s, we want to grow our crops here we wanna grow our families here. And you can extend that idea to the world. This is the people’s world… We can’t keep building from these places of anger and hurt and pain. We have to enjoy our life and the people around us so that we can be invigorated and charged up to go do that work.\u003c/p>\n\u003cp>\u003cem>Pen: What is the intended purpose of the film “Dedicated To Those Who”?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: This is a love letter to the people who fight every day for the City, who fight to be here. And it’s also a call to action. You know, if you aren’t already throwing down, this is the time and we live in a very particular historical moment where we can make great change that lasts for generations. And we should celebrate that too and get hyphy, have a lot of fun, talk shit and drink 40s, but also, you know, do it and then show up at city hall the next day.\u003c/p>\n\u003cp>Baghead: We explore the role of artistry inside of a community revolution and love. And it’s not pretty and it’s not perfect, but it is really beautiful. And that kind of goes back to at the very end of the album, James Baldwin is talking…\u003c/p>\n\u003cp>Baldwin: “Your suffering does not isolate you but is your bridge, and many people have suffered before you, people have been suffering around you and always will…. All you can do is bring a little light into that suffering… We don’t change anything all we can do is invest people with the moral to change it for themselves”\u003c/p>\n\u003cp>Baghead: … We don’t change anything, we just give people a place to figure out their reality and learn how to engage with engage in it in a way that is going to create change.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Gotcha. And while Baghead held down the audio side of things, [Cereal For The Kids], you were behind the visuals.\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: The imagery is all reminiscent of our families histories. Like my father has lived in San Francisco since the 70s and was organizing. It’s an homage to folks here and gone, and the solidarity we have for each other… generations gone past… When our families migrated here 10 years ago, that struggle that brought them here is part of that intergenerational movement and that struggle in the city too.\u003c/p>\n\u003cp>\u003cem>Pen: There’s a lot of different footage, there’s ethnic studies footage, there’s some from labor strike. What footage are we looking at in terms of protest imagery?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: There’s footage from the Frisco 500 action where folks stormed city hall. Mario Woods was murdered in 2015. And then in 2016 is when organizing really kicked off. There’s also footage of the White Night riots when Dan White murdered Harvey Milk — which is an homage to the gay rights movement in the city, another moment in which city hall was stormed. So just trying to juxtapose historical moments to the ones we’re currently experiencing and trying to let folks know that history is a cycle, but we have the chance to break that cycle if we pay attention to it.\u003c/p>\n\u003cp>\u003cem>Pen: Baghead, Mario Woods, the organizing that happened around his killing, how did that politicize you and how does that show up in your art today?\u003c/em>\u003c/p>\n\u003cp>Baghead: That moment was kind of everything for me. Around the same time Mario Woods got killed, the administration at SF State was trying to cut funding to ethnic studies. And there was a huge march to expose the administration for cutting that funding. And relating it to the history of there being no space for Black and brown voices, or for working class voices.\u003c/p>\n\u003cp>\u003cem>Pen: Were you a part of the hunger strike that happened? At SF state?\u003c/em>\u003c/p>\n\u003cp>Baghead: Well, myself, [Cereal For the Kids], Ahkeel and Hassani went on hunger strike at SF state to push the administration to not cut funding as well as the other other list of demands.\u003c/p>\n\u003cp>\u003cem>Pen: How’d that go? How’d it end?\u003c/em>\u003c/p>\n\u003cp>Cereal For The Kids: It’s complicated, a lot of mistakes, a lot of good things too. We were able to fight the cuts but we did not make all our wins: the need for the expansion of programs that were not getting the funding they deserved. It was a big learning lesson for us as new organizers. But I think it also helped rejuvenate some stuff at State and was a really important politicizing moment for a lot of people.\u003c/p>\n\u003cp>\u003cem>Pen: You’re doing this work and you are in the City where it’s expensive as hell. How do you keep it together? How do you work with this collective group of people? I imagine it’s got to be tough.\u003c/em>\u003c/p>\n\u003cp>Baghead: Being an artist is hard as it is, but when everyone has a job, and on top of it, they have to work as much as they can to be able to live here, it makes it hard to collaborate in a healthy way. Ya know, a lot of us have these moments of being burnt out, but it’s the passion that keeps us going.\u003c/p>\n\u003cp>Cereal For The Kids: There’s a lot of mutual aid. There’s a lot of… we’re helping each other, all of us in our community deeply care about one another, have such fucking love.\u003c/p>\n\u003cp>Baghead: We’re not really sure how we’re going to make this city, from top down care about the people who built the city. We’re not sure how we’re going to make this a better world. We’re not sure how we’re going to make our dreams come true, but we believe in it. So go finish that sentence for us. Figure out your role, figure out, help us out, help yourself out.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>What do Janet Jackson, Ira Glass, Kermit the Frog, Nas and Louis Armstrong have in common?\u003c/p>\n\u003cp>These musicians, interviewers, and frogs are behind songs and other recordings to be \u003ca href=\"https://www.loc.gov/item/prn-21-015/national-recording-registry-adds-rhythm-nation-among-25-new-selections/2021-03-24/\" target=\"_blank\" rel=\"noopener noreferrer\">inducted\u003c/a> into the Library of Congress’s National Recording Registry on Wednesday.\u003c/p>\n\u003cp>The Library of Congress announced the 25 titles picked this year are considered “audio treasures worthy of preservation” based on their cultural, historical, or aesthetic importance to the nation’s heritage.\u003c/p>\n\u003cp>Janet Jackson’s album “Rhythm Nation 1814;” Louis Armstrong’s performance of “When the Saints Go Marching In;” Labelle’s song “Lady Marmalade;” Nas’ record “Illmatic,” Kool & the Gang’s “Celebration;” and Kermit the Frog’s “The Rainbow Connection” are now part of the collection of more than 550 other titles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wyLjbMBpGDA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jS5fTzMP_mg\u003c/p>\n\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\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/jS5fTzMP_mg'\n title='//www.youtube.com/embed/jS5fTzMP_mg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "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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"title": "Ava DuVernay's Early Hip-Hop Documentary 'This is the Life' Hits Streaming",
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"content": "\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this point, Ava DuVernay is a household name, having directed such films as \u003cem>Selma\u003c/em>, \u003cem>13th\u003c/em> and \u003cem>A Wrinkle in Time\u003c/em>. So I was surprised to learn recently that I heard DuVernay’s voice long before I ever saw her movies. It was on a 1995 album called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=X2n3sf9ZePY&list=PLADGP63QuBum58OBO9Pq3H-GiVBGcEpJq\" rel=\"noopener noreferrer\" target=\"_blank\">Project Blowed\u003c/a>\u003c/em>, when she appeared on a track called “Don’t Get it Twisted” with her hip-hop duo Figures of Speech.\u003c/p>\n\u003cp>Figures of Speech sprung from a fertile group of rappers and DJs that coalesced around the Good Life Cafe, a health food restaurant in Los Angeles that held weekly open mics attracting the city’s underground hip-hop talent. The songs, stories and synergy of the Good Life are at the center of one of DuVernay’s earliest documentaries, \u003cem>This Is The Life\u003c/em>, which has finally just hit Netflix. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://player.vimeo.com/video/225235608\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The Good Life’s era spanned the 1990s, and its syncopated, jazzy and uber-lyrical music stood as a foil to popular street-oriented artists of the day like Dr. Dre and N.W.A. Hip-hop obsessives watching the film will find gold here—early footage of artists like Freestyle Fellowship, Jurassic 5 and C.V.E.; backyard parties; rappers breaking the cafe’s rule of no swearing on the mic; and fond, funny remembrances by those who were there.\u003c/p>\n\u003cp>But even a casual viewer of \u003cem>This is the Life\u003c/em> will get a sense of something bigger: namely, the way great art can grow and cross-pollinate in a tight-knit scene. The tiny cafe packed in men and women from an array of racial and religious backgrounds, and the ripple effect (on national groups like Outkast and Bone Thugs-n-Harmony) is an object lesson in the power of a diverse community working together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As DuVernay herself says in the documentary: “The only equalizer was being dope.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is the Life is \u003ca href=\"https://www.netflix.com/title/80151952\" rel=\"noopener noreferrer\" target=\"_blank\">streaming on Netflix now\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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