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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=KQINC7406760499&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AJohnsonHist\" target=\"_blank\" rel=\"noopener noreferrer\">Antoine Johnson\u003c/a> stands at the intersection of hip-hop culture, HIV/ AIDS history, and the great institutions of higher learning in Northern California.\u003c/p>\n\u003cp>A graduate of Oakland’s Castlemont High School and Sacramento State University, Johnson is now a PhD candidate at UCSF where he’s researching the HIV/AIDS epidemic, and how the community– including a group of Black women in Oakland– responded.\u003c/p>\n\u003cp>Johnson is also a professor at UC Davis where he leads a course that uses hip-hop as a tool to understand larger societal issues. He says it was his love of music that eventually brought him to research the AIDS epidemic for his PhD. He was surveying songs that addressed problems like police violence and the crack epidemic, but Johnson says he wasn’t finding too many tracks that talked about HIV/ AIDS. So he began researching, and hasn’t stopped.\u003c/p>\n\u003cp>This past year, after the police killings of George Floyd and Breonna Taylor sparked a heightened awareness around institutionalized racism, Johnson and a couple of colleagues compiled a syllabus called, “\u003ca href=\"https://www.aaihs.org/syllabus-a-history-of-anti-black-racism-in-medicine/?utm_source=rss&utm_medium=rss&utm_campaign=syllabus-a-history-of-anti-black-racism-in-medicine\" target=\"_blank\" rel=\"noopener noreferrer\">A History of Anti-Black Racism in Medicine,\u003c/a>” for people who are interested in learning more about the intersection of healthcare of Black history.\u003c/p>\n\u003cp>On this episode, we discuss Johnson’s love for learning and teaching, passion for hip-hop, and how his highly important research into the HIV/ AIDS epidemic of the ’80s and ’90s is still extremely relevant to this day.\u003c/p>\n\u003cfigure id=\"attachment_13892989\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892989\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Image-from-iOS-71-800x1067.jpg\" alt='Antoine Johnson sits in front of a bookshelf, looking down at the camera, one hand supports his head thoughtfully, but he looks sharp and ready. His light gray sweatshirt says \"Anti-Gun Violence\". Behind him are shelves of books and certificates.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Image-from-iOS-71-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antoine Johnson\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Antoine Johnson.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What are you pursuing with your PHD ?\u003c/em>\u003c/p>\n\u003cp>Antoine: My dissertation looks at HIV and AIDS among Black people in the Bay Area and ways that racism, specifically state sanctioned violence through underemployment, poverty housing insecurity, and inadequate health care contributes to Black people’s disease susceptibility.\u003c/p>\n\u003cp>Antoine: One of the chapters I wrote on was about a sex workers organization called CAL-PEP, California Prostitutes Education Project. They were created in 1984. They wanted to highlight the way that Black women, in particular, were affected by HIV and AIDS, and how that differed from Black men, which differed from white men.\u003c/p>\n\u003cp>Antoine: At the time, AIDS was seen as a gay white disease. And that’s the way that the media covered it. That’s the way that health professionals responded to it and the way that politicians responded to it as well.\u003c/p>\n\u003cp>Antoine: And the thing was, sex workers were being ostracized for carrying the disease. But they were pointing out, you know, the vast majority of our customers are married white men, but they don’t receive the same criticism and public scrutiny that we do. So that’s the intersectional lens that I approach that chapter from.\u003c/p>\n\u003cp>Antoine: The \u003ca href=\"https://www.calpep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">CAL-PEP\u003c/a> chapter took a while to develop because… they’ve been blamed so much that they stopped trusting and working with, journalists, and epidemiologists, people from the health field, so it literally took me almost a year just to get any information from them to hang out with them.\u003c/p>\n\u003cp>Antoine: You know, to be in conversation with the founder, shout out to Gloria Lockett and their great people, you know, but it’s like we don’t want people coming in using our names and our info and then slandering us. Being from the Town, I’m not about to disrespect people who were out here. They’re sex workers already, they’re negatively perceived, so I need to make sure that I humanize them as best I can.\u003c/p>\n\u003cp>\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>\u003c/p>\n",
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"title": "Musicians To Know: Bay Area Rapper Champ Green Isn’t Stingy with the Rhythm or the Wisdom",
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"content": "\u003cp>\u003ci data-stringify-type=\"italic\">Over 4 weeks, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish is featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> is probably your favorite Bay Area rapper’s favorite rapper. He’s been putting in work for some time, and over the past calendar year he’s been on a music-making mission. And he’s not showing any signs of slowing.\u003c/p>\n\u003cfigure id=\"attachment_13892652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13892652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-1-1-800x718.jpg\" alt='An illustration of Champ Green on the outside of a \"Hella Nuts\" Grounded Walnut Meat bag. You can see him smiling in the bottom right corner of the bag as he bites into a burger.' width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Champ Green on the outside of “Hella Nuts” \u003ccite>(Mieko Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His clever wordplay and wisdom-filled rhymes can be found on a project \u003ca href=\"https://rootsandbranches.bandcamp.com/track/seed-15\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Basta\u003c/a>, a recent single and video \u003ca href=\"https://www.youtube.com/watch?v=tdzxSP1RWjc\" target=\"_blank\" rel=\"noopener noreferrer\">with Mistah FAB\u003c/a>, and multiple tracks with \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">the Grand Nationxl collective\u003c/a>. And next week he’s scheduled to release \u003cem>Pleasantly Plump 2\u003c/em> \u003ca href=\"https://www.instagram.com/p/CLFoxt8sgek/\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Twelvz\u003c/a>.\u003c/p>\n\u003cp>While his wordplay is on tracks, his face is on food. You can find him smiling on the packaging of the local plant-based food company \u003ca href=\"https://www.instagram.com/hella_nuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Nuts,\u003c/a> breaking stereotypes on what health looks like.\u003c/p>\n\u003cp>On top of all that, Champ, a friend of mine, is the walking embodiment of love. His latest project, \u003cem>Agape Elephant in The Room\u003c/em>, which dropped in December, is a testament to that love– and how it often gets overlooked.\u003c/p>\n\u003cp>Even with the competitive nature of the rap game, Champ says love has to be acknowledged. Today we talk about how Champ got love from his mother, game from the Town, and with each bar he spits he gives it all back.\u003c/p>\n\u003cfigure id=\"attachment_13892632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg\" alt=\"Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n.jpg 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background. \u003ccite>(Courtesy of Champ Gree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Champ Green.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Your most recent project was “Agape Elephant in the Room.” Why was that the title?\u003c/em>\u003c/p>\n\u003cp>Champ Green: It derived from the elephant in the room, so everybody says they don’t see the elephant, right? But it’s plain as day. So I’m the elephant with the big love in the room. Depending on the way you view it, either, I’m a problem or I’m the problem solver.\u003c/p>\n\u003cp>\u003cem>Pen: And for our folks who are unclear, what does agape mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Unconditional love and the love of God, give you the unconditional love, that’s agape.\u003c/p>\n\u003cp>\u003cem>Pen: Looking at what you’re doing right now with Grand Nationxl collective, it seems like there’s a lot of love in that collective. You’re working with 10-dozen producers?\u003c/em>\u003c/p>\n\u003cp>Champ Green: I’ve been blessed to be a part of teams who kind of run ocean 12 or 13 or 11 game, which in order to get the job done, we have to be very, very good, or excellent. It’s like a real life Henry Ford machine. So the assembly line is heavy with a plethora of knowledge, a plethora of game and a potluck of camaraderie to the point where we get the job done and pull off the heist, respectfully.\u003c/p>\n\u003cp>\u003cem>Pen: Respectfully [[laughs]]… the Bay Area it breeds a lot of linguists, ya know obviously E40 is of it. But did the Bay influence [your wordplay ability] as well?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Of course, most definitely. I think also, when we speak of hip hop, I’m damn, near just as old as hip hop. I think I’m forty two. So I have front row seats to the game. Right. And then I had three older siblings and I was just able to be saturated in it.\u003c/p>\n\u003cp>Champ Green: And also growing up in Oakland, every turf got their own little slang… it could be a bunch of your partners, y’all say what your little slick word, and then it could spread like wildfire because one of your partners may stay in the West and the other partner me stay in a Deep East and the other partna stay in Richmond and it’ll become a thing. So, in the words of Mac Mall, “serving game is my occupation.”\u003c/p>\n\u003cp>\u003cem>Pen: But you individually have a lexicon that you go through that you pull from. And I just wanted to break down just a couple of terms that I want to hear you define them. So when you say things like “…Who’s selling peanuts?… They going to George Washington Carve they niche out out this game.” What does that mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Everybody’s always focused on the big, you know, “I need to do it big like this”, but a peanut is small. So, I mean, you gotta start small to get big, but who really going to sell some peanuts who really gonna be on the front line in this underground railroad. You know, speaking the Sojourner Truth…\u003c/p>\n\u003cp>\u003cem>Pen: Essentially like, who’s selling peanuts, who’s doing the grunt work with historical context?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Exactly… Then the inventor of peanut butter is George Washington Carver, right? He came up with roasted peanuts, peanuts in different ways. So how are you going to George Washington carve your niche out?\u003c/p>\n\u003cp>\u003cem>Pen: In your latest album, Agape Elephant in the Room, you released a single with Ian Kelly on that single. You have just crazy wordplay back and forth. That I wanted to quote, I might get it wrong so correct me if I do, but you go “longitude, latitude, horizontal, parallel telephone next person nextel communicate plant seed bean stock sky high sky’s limit moonwalk. HBCU…” The way that one thing leads to the next from the outside perspective, is almost like looking at a slinky go down stairs.\u003c/em>\u003c/p>\n\u003cp>Champ Green: OK\u003c/p>\n\u003cp>\u003cem>Pen: From the inside. How does your brain work ?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Umm So, so I’m left handed. Right.\u003c/p>\n\u003cp>\u003cem>Pen: [laughs]\u003c/em>\u003c/p>\n\u003cp>Champ Green: Right, so i’m coming from the other side of the brain. But at the same time, my dominant hand is my left hand. But like, I play basketball and I shoot with my right. So I’ll be serving ambidextrous game at the same time in rare form.\u003c/p>\n\u003cp>\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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"excerpt": "You can't ignore it. The elephant in the room is love. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci data-stringify-type=\"italic\">Over 4 weeks, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish is featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003cbr>\n\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a> is probably your favorite Bay Area rapper’s favorite rapper. He’s been putting in work for some time, and over the past calendar year he’s been on a music-making mission. And he’s not showing any signs of slowing.\u003c/p>\n\u003cfigure id=\"attachment_13892652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13892652 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-1-1-800x718.jpg\" alt='An illustration of Champ Green on the outside of a \"Hella Nuts\" Grounded Walnut Meat bag. You can see him smiling in the bottom right corner of the bag as he bites into a burger.' width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-1020x916.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1-768x690.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-1.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Champ Green on the outside of “Hella Nuts” \u003ccite>(Mieko Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His clever wordplay and wisdom-filled rhymes can be found on a project \u003ca href=\"https://rootsandbranches.bandcamp.com/track/seed-15\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Basta\u003c/a>, a recent single and video \u003ca href=\"https://www.youtube.com/watch?v=tdzxSP1RWjc\" target=\"_blank\" rel=\"noopener noreferrer\">with Mistah FAB\u003c/a>, and multiple tracks with \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">the Grand Nationxl collective\u003c/a>. And next week he’s scheduled to release \u003cem>Pleasantly Plump 2\u003c/em> \u003ca href=\"https://www.instagram.com/p/CLFoxt8sgek/\" target=\"_blank\" rel=\"noopener noreferrer\">with DJ Twelvz\u003c/a>.\u003c/p>\n\u003cp>While his wordplay is on tracks, his face is on food. You can find him smiling on the packaging of the local plant-based food company \u003ca href=\"https://www.instagram.com/hella_nuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Nuts,\u003c/a> breaking stereotypes on what health looks like.\u003c/p>\n\u003cp>On top of all that, Champ, a friend of mine, is the walking embodiment of love. His latest project, \u003cem>Agape Elephant in The Room\u003c/em>, which dropped in December, is a testament to that love– and how it often gets overlooked.\u003c/p>\n\u003cp>Even with the competitive nature of the rap game, Champ says love has to be acknowledged. Today we talk about how Champ got love from his mother, game from the Town, and with each bar he spits he gives it all back.\u003c/p>\n\u003cfigure id=\"attachment_13892632\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892632\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg\" alt=\"Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/137117814_752315915397210_7949189052426708347_n.jpg 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green, wearing a beanie cap and glasses, stands in a field with some small trees in the background. \u003ccite>(Courtesy of Champ Gree)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Champ Green.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Your most recent project was “Agape Elephant in the Room.” Why was that the title?\u003c/em>\u003c/p>\n\u003cp>Champ Green: It derived from the elephant in the room, so everybody says they don’t see the elephant, right? But it’s plain as day. So I’m the elephant with the big love in the room. Depending on the way you view it, either, I’m a problem or I’m the problem solver.\u003c/p>\n\u003cp>\u003cem>Pen: And for our folks who are unclear, what does agape mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Unconditional love and the love of God, give you the unconditional love, that’s agape.\u003c/p>\n\u003cp>\u003cem>Pen: Looking at what you’re doing right now with Grand Nationxl collective, it seems like there’s a lot of love in that collective. You’re working with 10-dozen producers?\u003c/em>\u003c/p>\n\u003cp>Champ Green: I’ve been blessed to be a part of teams who kind of run ocean 12 or 13 or 11 game, which in order to get the job done, we have to be very, very good, or excellent. It’s like a real life Henry Ford machine. So the assembly line is heavy with a plethora of knowledge, a plethora of game and a potluck of camaraderie to the point where we get the job done and pull off the heist, respectfully.\u003c/p>\n\u003cp>\u003cem>Pen: Respectfully [[laughs]]… the Bay Area it breeds a lot of linguists, ya know obviously E40 is of it. But did the Bay influence [your wordplay ability] as well?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Of course, most definitely. I think also, when we speak of hip hop, I’m damn, near just as old as hip hop. I think I’m forty two. So I have front row seats to the game. Right. And then I had three older siblings and I was just able to be saturated in it.\u003c/p>\n\u003cp>Champ Green: And also growing up in Oakland, every turf got their own little slang… it could be a bunch of your partners, y’all say what your little slick word, and then it could spread like wildfire because one of your partners may stay in the West and the other partner me stay in a Deep East and the other partna stay in Richmond and it’ll become a thing. So, in the words of Mac Mall, “serving game is my occupation.”\u003c/p>\n\u003cp>\u003cem>Pen: But you individually have a lexicon that you go through that you pull from. And I just wanted to break down just a couple of terms that I want to hear you define them. So when you say things like “…Who’s selling peanuts?… They going to George Washington Carve they niche out out this game.” What does that mean?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Everybody’s always focused on the big, you know, “I need to do it big like this”, but a peanut is small. So, I mean, you gotta start small to get big, but who really going to sell some peanuts who really gonna be on the front line in this underground railroad. You know, speaking the Sojourner Truth…\u003c/p>\n\u003cp>\u003cem>Pen: Essentially like, who’s selling peanuts, who’s doing the grunt work with historical context?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Exactly… Then the inventor of peanut butter is George Washington Carver, right? He came up with roasted peanuts, peanuts in different ways. So how are you going to George Washington carve your niche out?\u003c/p>\n\u003cp>\u003cem>Pen: In your latest album, Agape Elephant in the Room, you released a single with Ian Kelly on that single. You have just crazy wordplay back and forth. That I wanted to quote, I might get it wrong so correct me if I do, but you go “longitude, latitude, horizontal, parallel telephone next person nextel communicate plant seed bean stock sky high sky’s limit moonwalk. HBCU…” The way that one thing leads to the next from the outside perspective, is almost like looking at a slinky go down stairs.\u003c/em>\u003c/p>\n\u003cp>Champ Green: OK\u003c/p>\n\u003cp>\u003cem>Pen: From the inside. How does your brain work ?\u003c/em>\u003c/p>\n\u003cp>Champ Green: Umm So, so I’m left handed. Right.\u003c/p>\n\u003cp>\u003cem>Pen: [laughs]\u003c/em>\u003c/p>\n\u003cp>Champ Green: Right, so i’m coming from the other side of the brain. But at the same time, my dominant hand is my left hand. But like, I play basketball and I shoot with my right. So I’ll be serving ambidextrous game at the same time in rare form.\u003c/p>\n\u003cp>\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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"title": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar",
"headTitle": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar | KQED",
"content": "\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/cgBzWvwvWc4\u003c/p>\n\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qNrM3QqTkdQ\u003c/p>\n\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” [aside postid='arts_13891687']\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RkVyo5RRYU0\u003c/p>\n\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/GZagrum0fbQ\u003c/p>\n\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\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/cgBzWvwvWc4'\n title='//www.youtube.com/embed/cgBzWvwvWc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\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/qNrM3QqTkdQ'\n title='//www.youtube.com/embed/qNrM3QqTkdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\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/RkVyo5RRYU0'\n title='//www.youtube.com/embed/RkVyo5RRYU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\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/GZagrum0fbQ'\n title='//www.youtube.com/embed/GZagrum0fbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci data-stringify-type=\"italic\">For the next month, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish will be featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/i_am_ymtk/\" target=\"_blank\" rel=\"noopener noreferrer\">YMTK\u003c/a> is an eclectic, spiritual, fun-loving R&B and hip-hop artist who grew up in Oakland and currently resides in Los Angeles.\u003c/p>\n\u003cp>In his music catalog, you’ll find his collaborations with \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IamSu!\u003c/a>, \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>, and many more. YMTK has also written for emerging artists like the East Bay’s \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/marteen/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Marteen\u003c/a> and Compton’s \u003ca href=\"https://www.instagram.com/justgemaine/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gemaine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>But since sheltering-in-place, YMTK says he’s been exploring his creative process as an individual.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“… when you are creating by yourself, it’s like \u003cem>really\u003c/em> on you,” YMTK says. And as a creative person, second guessing himself is common, but this time in solitude has proven to be a “swift kick in the ass to really focus on YMTK,” he says. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13891957\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/0-2-1-800x624.jpg\" alt=\"YMTK swinging his locs as he poses for a photo.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-768x599.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-1536x1198.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1.jpg 1805w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YMTK swinging his locs as he poses for a photo. \u003ccite>(Domonizia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, focusing on self and going through the process of doing soul work isn’t a foreign concept to YMTK. He spent his childhood in the church and says it has given his music a foundation, no matter if it’s a dance track or a prayer song.\u003c/p>\n\u003cp>In addition to discussing the role spirituality plays in his life and art, we talk hoops, hanging with Mr. Cooper, and shooting your shot as a musical artist in the middle of a pandemic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6798740887&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with YMTK.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Two tracks that you recently released: “Be Well” and “Jiggy 2x”? They seem like two different lanes, man. One is a more uptempo almost dance party song and the other one is more grounded spiritual. How do you arrive at those two points?\u003c/em>\u003c/p>\n\u003cp>YMTK: … We’re complex people, you know, we go through different moods… Sometimes I’m “jiggy jiggy,” and I want to dance — and it’s a different vibe than Dizzy Love, which is dancy, but it’s more like Bay Area with that bounce — and Be Well, as you said, is a more introspective and spiritual song.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha, Is there anything that’s led you to that spiritual growth?\u003c/em>\u003c/p>\n\u003cp>YMTK: My whole journey has been a very spiritual — and spirit filled — quest. I feel like I’m a little bit more tapped in and aware of it and aware of God… Because my father’s dad was a preacher, my mother’s dad was a preacher. And my mom, she’s an educator, but she’s also a gospel singer. So I was just a little bit more tapped in to really see how God was working in my life… And music being such a spiritual process, you know, we’re literally pulling things out of the air.\u003c/p>\n\u003cp>\u003cem>Pen: …The Bay Area has a rich history of R&B… How do you feel in carrying that baton?\u003c/em>\u003c/p>\n\u003cp>YMTK: It’s a blessing to have crossed paths and and have relationships with some of these legendary figures and just being able to contribute to the legacy of Bay Area music in general, I feel it’s a blessing and responsibility at the same time…\u003c/p>\n\u003cp>\u003cem>Pen: …In your music you mentioned, “Used to be a hooper, hung with Mr. Cooper”\u003c/em>\u003c/p>\n\u003cp>YMTK: That’s because I crossed paths with “Mr. Cooper”, with Mark Curry. He went to St. Joe’s and was a hooper back in the day. So he used to come back to the alumni games. He would be there chilling, taking pictures and joking around and stuff.\u003c/p>\n\u003cp>YMTK: As an adult, I was working for this company, 51 Minds Entertainment, in reality TV, and [Curry] was having a meeting there and he recognized me in the elevator and was like, “boy, what did you do to your hair?”… I’m not a clean hooper no more at St. Joe’s… It was just a testament to leaving the town, getting out here, trying to make something happen and then running into a legend that I really respect and look up to and being like, oh, yeah I’m out here.\u003c/p>\n\u003cp>\u003cem>Pen: That’s tight, to show that paths do continue to cross. And then on the note of hoop, like, I grew up playing baseball in East Oakland and like it plays into me as a photographer because I know to anticipate certain things or, you know, that mindset of a baseball player falls into the work that I do now. Does the hooper’s mindset play into the work that you do now?\u003c/em>\u003c/p>\n\u003cp>YMTK: Yeah, no question, bro. No question. I always say, you know, the only thing we have control over is our attitude and our effort.\u003c/p>\n\u003cp>YMTK: And that’s something that I picked up from hoop. You don’t control the outcome of the game, you don’t control how your teammates are playing, you don’t control somebody else’s having a hot hand and going for 30, all you can control is your attitude and your effort.\u003c/p>\n\u003cp>YMTK: It’s not about the outcome being a win or a loss. It’s about like what you did. So I really have taken that mindset of just understanding that I have very little control. And a lot of that has to do with my spirituality of just understanding that there is something bigger than me at play.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci data-stringify-type=\"italic\">For the next month, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish will be featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/i_am_ymtk/\" target=\"_blank\" rel=\"noopener noreferrer\">YMTK\u003c/a> is an eclectic, spiritual, fun-loving R&B and hip-hop artist who grew up in Oakland and currently resides in Los Angeles.\u003c/p>\n\u003cp>In his music catalog, you’ll find his collaborations with \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IamSu!\u003c/a>, \u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>, and many more. YMTK has also written for emerging artists like the East Bay’s \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/marteen/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Marteen\u003c/a> and Compton’s \u003ca href=\"https://www.instagram.com/justgemaine/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gemaine\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>But since sheltering-in-place, YMTK says he’s been exploring his creative process as an individual.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“… when you are creating by yourself, it’s like \u003cem>really\u003c/em> on you,” YMTK says. And as a creative person, second guessing himself is common, but this time in solitude has proven to be a “swift kick in the ass to really focus on YMTK,” he says. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13891957\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891957\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/0-2-1-800x624.jpg\" alt=\"YMTK swinging his locs as he poses for a photo.\" width=\"800\" height=\"624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-800x624.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-1020x796.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-768x599.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1-1536x1198.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/0-2-1.jpg 1805w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YMTK swinging his locs as he poses for a photo. \u003ccite>(Domonizia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, focusing on self and going through the process of doing soul work isn’t a foreign concept to YMTK. He spent his childhood in the church and says it has given his music a foundation, no matter if it’s a dance track or a prayer song.\u003c/p>\n\u003cp>In addition to discussing the role spirituality plays in his life and art, we talk hoops, hanging with Mr. Cooper, and shooting your shot as a musical artist in the middle of a pandemic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6798740887&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with YMTK.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Two tracks that you recently released: “Be Well” and “Jiggy 2x”? They seem like two different lanes, man. One is a more uptempo almost dance party song and the other one is more grounded spiritual. How do you arrive at those two points?\u003c/em>\u003c/p>\n\u003cp>YMTK: … We’re complex people, you know, we go through different moods… Sometimes I’m “jiggy jiggy,” and I want to dance — and it’s a different vibe than Dizzy Love, which is dancy, but it’s more like Bay Area with that bounce — and Be Well, as you said, is a more introspective and spiritual song.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha, Is there anything that’s led you to that spiritual growth?\u003c/em>\u003c/p>\n\u003cp>YMTK: My whole journey has been a very spiritual — and spirit filled — quest. I feel like I’m a little bit more tapped in and aware of it and aware of God… Because my father’s dad was a preacher, my mother’s dad was a preacher. And my mom, she’s an educator, but she’s also a gospel singer. So I was just a little bit more tapped in to really see how God was working in my life… And music being such a spiritual process, you know, we’re literally pulling things out of the air.\u003c/p>\n\u003cp>\u003cem>Pen: …The Bay Area has a rich history of R&B… How do you feel in carrying that baton?\u003c/em>\u003c/p>\n\u003cp>YMTK: It’s a blessing to have crossed paths and and have relationships with some of these legendary figures and just being able to contribute to the legacy of Bay Area music in general, I feel it’s a blessing and responsibility at the same time…\u003c/p>\n\u003cp>\u003cem>Pen: …In your music you mentioned, “Used to be a hooper, hung with Mr. Cooper”\u003c/em>\u003c/p>\n\u003cp>YMTK: That’s because I crossed paths with “Mr. Cooper”, with Mark Curry. He went to St. Joe’s and was a hooper back in the day. So he used to come back to the alumni games. He would be there chilling, taking pictures and joking around and stuff.\u003c/p>\n\u003cp>YMTK: As an adult, I was working for this company, 51 Minds Entertainment, in reality TV, and [Curry] was having a meeting there and he recognized me in the elevator and was like, “boy, what did you do to your hair?”… I’m not a clean hooper no more at St. Joe’s… It was just a testament to leaving the town, getting out here, trying to make something happen and then running into a legend that I really respect and look up to and being like, oh, yeah I’m out here.\u003c/p>\n\u003cp>\u003cem>Pen: That’s tight, to show that paths do continue to cross. And then on the note of hoop, like, I grew up playing baseball in East Oakland and like it plays into me as a photographer because I know to anticipate certain things or, you know, that mindset of a baseball player falls into the work that I do now. Does the hooper’s mindset play into the work that you do now?\u003c/em>\u003c/p>\n\u003cp>YMTK: Yeah, no question, bro. No question. I always say, you know, the only thing we have control over is our attitude and our effort.\u003c/p>\n\u003cp>YMTK: And that’s something that I picked up from hoop. You don’t control the outcome of the game, you don’t control how your teammates are playing, you don’t control somebody else’s having a hot hand and going for 30, all you can control is your attitude and your effort.\u003c/p>\n\u003cp>YMTK: It’s not about the outcome being a win or a loss. It’s about like what you did. So I really have taken that mindset of just understanding that I have very little control. And a lot of that has to do with my spirituality of just understanding that there is something bigger than me at play.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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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"title": "With Rap Snacks Radio, Kay-Beezy Fa Sheezy Serves Up Satisfying Tunes for the Soul",
"headTitle": "With Rap Snacks Radio, Kay-Beezy Fa Sheezy Serves Up Satisfying Tunes for the Soul | KQED",
"content": "\u003cp>“Yes yes yes, boppers! Welcome. Bienvenidos. Aloha. Shalom.” A few minutes after 6pm on a Friday night, the smooth baritone offering a string of peaceful greetings over the KPOO 89.5 FM airwaves is Kay-Beezy Fa Sheezy. His show, \u003ca href=\"https://www.mixcloud.com/RapSnacksRadio/\" target=\"_blank\" rel=\"noopener noreferrer\">Rap Snacks Radio\u003c/a>, is a relative newcomer to the KPOO family, and already establishing a fan base of devoted Snackheads.\u003c/p>\n\u003cp>The savory show highlights Bay Area greats like Too $hort, Mac Dre, and Tupac Shakur. Another signature feature, known as Rap Snacks Double Downs, lines up source samples back-to-back with hip-hop anthems. Joe Cocker’s “Woman to Woman” might sound out of place on a rap show—that is, until EPMD’s “Knick Knack Paddy Wack” fades in over it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"60\" src=\"https://www.mixcloud.com/widget/iframe/?hide_cover=1&mini=1&light=1&feed=%2FRapSnacksRadio%2Frap-snacks-radio-episode-161-cold-kickin-it-live-january-22-2021%2F\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Kay-Beezy Fa Sheezy got started in radio a few years ago after recording a PSA for his day job at a food bank, impressing the manager at Davis station KDRT with his crisp delivery. At the time, he was living in San Francisco but commuting north daily for work.\u003c/p>\n\u003cp>The mash-up was perfect. KDRT hadn’t had a hip-hop show in seven years. Kay-Beezy Fa Sheezy, whose DJ moniker is a nod to E-40, is a serious soul record collector. His stacks of “buttery vinyl” were amassed over more than two decades of paid work and passion, including retail clerking at a Virgin Megastore and sharing obscure tunes through small mail-based CD exchanges.\u003c/p>\n\u003cp>For a year and a half, he’d drive two hours to do his one-hour Wednesday evening show—which with station IDs and PSAs, was actually only 58 minutes long—and stay with family before returning home the next day. It was a soulful but taxing (unpaid) slog. All the while, he hoped a beloved station much closer to home would nurture his talents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Founded in 1971, San Francisco’s \u003ca href=\"https://kpoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KPOO 89.5 FM\u003c/a> focuses on programming for communities of people traditionally underserved by mainstream media, including Black, Latinx, and Native folks. The non-commercial station is entirely listener supported through annual fundraisers, and all KPOO DJs are volunteers. Once they settle into the KPOO family, many of the station’s broadcasters keep their shows for years, if not decades.\u003c/p>\n\u003cp>Since its inception, KPOO has been a groundbreaking West Coast presence, as well as the first Bay Area station to play reggae, salsa, and rap music; it lead other regional stations to start focusing on hip-hop. Bringing in a fresh show focusing on hip-hop history and classic tracks was obvious to station manager Jerome “JJ on D Radio” Parson.\u003c/p>\n\u003cp>As COVID-19 irreparably shifted schedules and lives, Kay-Beezy Fa Sheezy started regularly filling in on Friday nights. Many of the station’s DJs still broadcast live from the Divisadero Street studio, wearing masks on the mic. A few in higher-risk categories have temporarily switched to pre-recording their shows or taken a break from broadcasting.\u003c/p>\n\u003cp>Last fall, Rap Snacks Radio became the permanent, four-hour Friday night show. Since then, Kay-Beezy Fa Sheezy has only missed one week live in the studio, pre-recording that show to keep his deeply devoted fans satisfied. “Some people call me every single week, and some have made me art,” he reflects with awe. “People send me cookies!”\u003c/p>\n\u003cfigure id=\"attachment_13891892\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RapSnacks_1200.jpg\" alt=\"\" width=\"1280\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-768x768.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A crew of collaborators creates weekly graphics for Rap Snacks Radio.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the biggest hurdles to hosting a hip-shop show between the hours of 6 and 10pm is avoiding profanity, which the Federal Communications Commission allows only after 10pm. Kay-Beezy Fa Sheezy doesn’t mind the extra effort required. “I like my show to be family-friendly,” he says, relying on his massive collection of 12” singles, many of which include clean cuts.\u003c/p>\n\u003cp>He’s also committed to nurturing a community, noting that unlike DJs who often try to hide their best obscure records and samples, “There’s a sharing and learning component to my show.” A whole crew of behind-the-scenes creative collaborators pitches in on weekly themes and graphics, including \u003ca href=\"https://www.instagram.com/houseofdoomoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">House of Doom\u003c/a>, \u003ca href=\"https://www.instagram.com/thickcr8s/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Precise\u003c/a> and \u003ca href=\"https://www.instagram.com/noh8tin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Noh8tin\u003c/a>. Call-in guests are common and have included young stars and legends like Lil B and Busy Bee Starski. Eventually, Kay-Beezy Fa Sheezy wants to welcome even more performers and visual artists into the studio. “Once the world opens back up, it’s gonna be like a jamboree!” he says.\u003c/p>\n\u003cp>In a year of unspeakable difficulty and pain, Kay-Beezy Fa Sheezy’s Friday evening mix of joy and optimism nourishes him as much as it uplifts listeners. “I’m a hope dealer—that’s what I’m pushing,” he jokes. He also notes despite relentless enthusiasm from fans, “I focus on staying hungry, humble and happy,” using a line he often drops during his shows.\u003c/p>\n\u003cp>“This has gotta be about fun,” he adds. “The minute this goes to my head, the minute it’s a job or I’m trying to impress someone? I’m done.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Yes yes yes, boppers! Welcome. Bienvenidos. Aloha. Shalom.” A few minutes after 6pm on a Friday night, the smooth baritone offering a string of peaceful greetings over the KPOO 89.5 FM airwaves is Kay-Beezy Fa Sheezy. His show, \u003ca href=\"https://www.mixcloud.com/RapSnacksRadio/\" target=\"_blank\" rel=\"noopener noreferrer\">Rap Snacks Radio\u003c/a>, is a relative newcomer to the KPOO family, and already establishing a fan base of devoted Snackheads.\u003c/p>\n\u003cp>The savory show highlights Bay Area greats like Too $hort, Mac Dre, and Tupac Shakur. Another signature feature, known as Rap Snacks Double Downs, lines up source samples back-to-back with hip-hop anthems. Joe Cocker’s “Woman to Woman” might sound out of place on a rap show—that is, until EPMD’s “Knick Knack Paddy Wack” fades in over it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"60\" src=\"https://www.mixcloud.com/widget/iframe/?hide_cover=1&mini=1&light=1&feed=%2FRapSnacksRadio%2Frap-snacks-radio-episode-161-cold-kickin-it-live-january-22-2021%2F\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Kay-Beezy Fa Sheezy got started in radio a few years ago after recording a PSA for his day job at a food bank, impressing the manager at Davis station KDRT with his crisp delivery. At the time, he was living in San Francisco but commuting north daily for work.\u003c/p>\n\u003cp>The mash-up was perfect. KDRT hadn’t had a hip-hop show in seven years. Kay-Beezy Fa Sheezy, whose DJ moniker is a nod to E-40, is a serious soul record collector. His stacks of “buttery vinyl” were amassed over more than two decades of paid work and passion, including retail clerking at a Virgin Megastore and sharing obscure tunes through small mail-based CD exchanges.\u003c/p>\n\u003cp>For a year and a half, he’d drive two hours to do his one-hour Wednesday evening show—which with station IDs and PSAs, was actually only 58 minutes long—and stay with family before returning home the next day. It was a soulful but taxing (unpaid) slog. All the while, he hoped a beloved station much closer to home would nurture his talents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded in 1971, San Francisco’s \u003ca href=\"https://kpoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KPOO 89.5 FM\u003c/a> focuses on programming for communities of people traditionally underserved by mainstream media, including Black, Latinx, and Native folks. The non-commercial station is entirely listener supported through annual fundraisers, and all KPOO DJs are volunteers. Once they settle into the KPOO family, many of the station’s broadcasters keep their shows for years, if not decades.\u003c/p>\n\u003cp>Since its inception, KPOO has been a groundbreaking West Coast presence, as well as the first Bay Area station to play reggae, salsa, and rap music; it lead other regional stations to start focusing on hip-hop. Bringing in a fresh show focusing on hip-hop history and classic tracks was obvious to station manager Jerome “JJ on D Radio” Parson.\u003c/p>\n\u003cp>As COVID-19 irreparably shifted schedules and lives, Kay-Beezy Fa Sheezy started regularly filling in on Friday nights. Many of the station’s DJs still broadcast live from the Divisadero Street studio, wearing masks on the mic. A few in higher-risk categories have temporarily switched to pre-recording their shows or taken a break from broadcasting.\u003c/p>\n\u003cp>Last fall, Rap Snacks Radio became the permanent, four-hour Friday night show. Since then, Kay-Beezy Fa Sheezy has only missed one week live in the studio, pre-recording that show to keep his deeply devoted fans satisfied. “Some people call me every single week, and some have made me art,” he reflects with awe. “People send me cookies!”\u003c/p>\n\u003cfigure id=\"attachment_13891892\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RapSnacks_1200.jpg\" alt=\"\" width=\"1280\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-768x768.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A crew of collaborators creates weekly graphics for Rap Snacks Radio.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the biggest hurdles to hosting a hip-shop show between the hours of 6 and 10pm is avoiding profanity, which the Federal Communications Commission allows only after 10pm. Kay-Beezy Fa Sheezy doesn’t mind the extra effort required. “I like my show to be family-friendly,” he says, relying on his massive collection of 12” singles, many of which include clean cuts.\u003c/p>\n\u003cp>He’s also committed to nurturing a community, noting that unlike DJs who often try to hide their best obscure records and samples, “There’s a sharing and learning component to my show.” A whole crew of behind-the-scenes creative collaborators pitches in on weekly themes and graphics, including \u003ca href=\"https://www.instagram.com/houseofdoomoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">House of Doom\u003c/a>, \u003ca href=\"https://www.instagram.com/thickcr8s/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Precise\u003c/a> and \u003ca href=\"https://www.instagram.com/noh8tin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Noh8tin\u003c/a>. Call-in guests are common and have included young stars and legends like Lil B and Busy Bee Starski. Eventually, Kay-Beezy Fa Sheezy wants to welcome even more performers and visual artists into the studio. “Once the world opens back up, it’s gonna be like a jamboree!” he says.\u003c/p>\n\u003cp>In a year of unspeakable difficulty and pain, Kay-Beezy Fa Sheezy’s Friday evening mix of joy and optimism nourishes him as much as it uplifts listeners. “I’m a hope dealer—that’s what I’m pushing,” he jokes. He also notes despite relentless enthusiasm from fans, “I focus on staying hungry, humble and happy,” using a line he often drops during his shows.\u003c/p>\n\u003cp>“This has gotta be about fun,” he adds. “The minute this goes to my head, the minute it’s a job or I’m trying to impress someone? I’m done.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "from-vallejo-an-intimate-video-series-putting-on-for-the-bay",
"title": "From Vallejo, LaRussell Is Putting On for the Bay",
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"content": "\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WwXsgUdJJIg\u003c/p>\n\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p3jcRH34Vjk\u003c/p>\n\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\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/WwXsgUdJJIg'\n title='//www.youtube.com/embed/WwXsgUdJJIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\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/p3jcRH34Vjk'\n title='//www.youtube.com/embed/p3jcRH34Vjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\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/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Musicians To Know: Nappy Nina on Becoming the Rap Bill Nye and Missing Oakland",
"headTitle": "Musicians To Know: Nappy Nina on Becoming the Rap Bill Nye and Missing Oakland | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>For the next month, \u003ca href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\">Rightnowish will be featuring artists with local roots\u003c/a> who are taking the sounds of the Bay to a national stage. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature Boom-Bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp.\u003c/a> And she’s been working on a streak of exciting projects. For the educational organization, Flocabulary, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. A few weeks ago, she dropped a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss. Soon, she’ll release a new EP, Double Down, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we talk to Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft and how some of my favorite songs came together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s fucking ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good shit. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>For the next month, \u003ca href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\">Rightnowish will be featuring artists with local roots\u003c/a> who are taking the sounds of the Bay to a national stage. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature Boom-Bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp.\u003c/a> And she’s been working on a streak of exciting projects. For the educational organization, Flocabulary, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. A few weeks ago, she dropped a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss. Soon, she’ll release a new EP, Double Down, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we talk to Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft and how some of my favorite songs came together.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s fucking ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good shit. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\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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"title": "'Artists, Weirdos, Hellriders and Homies:' Thrasher Magazine Turns 40",
"headTitle": "‘Artists, Weirdos, Hellriders and Homies:’ Thrasher Magazine Turns 40 | KQED",
"content": "\u003cp>\u003cem>Playboy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Glamour.\u003c/em>\u003c/p>\n\u003cp>\u003cem>O.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Teen Vogue.\u003c/em>\u003c/p>\n\u003cp>All these magazines have something in common.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re no longer in print.\u003c/p>\n\u003cp>While these—and many other—publications have shifted to digital only in recent years, there’s a print magazine bucking the trends and still going strong: \u003cem>Thrasher \u003c/em>magazine. Created by skateboarders for skateboarders, \u003cem>Thrasher\u003c/em> celebrates its 40th anniversary this month.\u003c/p>\n\u003cp>Founded in 1981 by Eric Swenson and Fausto Vitello, the San Francisco-based publication has been busting out new issues every month for decades. \u003cem>Thrasher\u003c/em> captures the gnarly antics of skaters as they shred pools, bomb hills and hurl themselves down rails and staircases.\u003c/p>\n\u003cp>“Back then there weren’t that many videos, so that was our source of skateboarding,” Mike Carroll, a professional skateboarder, said.\u003c/p>\n\u003cp>Carroll started reading \u003cem>Thrasher\u003c/em> as a kid in the 80’s. In 1994, he was given the coveted title of \u003cem>Thrasher\u003c/em> Skater of the Year and he’s been on numerous covers.\u003c/p>\n\u003cfigure id=\"attachment_13891250\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891250\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg\" alt=\"Mike Carroll in action. The skateboarder started reading 'Thrasher' as a kid and was Skater of the Year in 1994.\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mike Carroll started reading ‘Thrasher’ as a kid; he was Skater of the Year in 1994. \u003ccite>(Sean Dolinsky /Thrasher Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Skateboarding is so infinite in so many different ways of your love for skateboarding,” he said. “If you’re looking at \u003cem>Thrasher,\u003c/em> reading \u003cem>Thrasher\u003c/em>, there’s so many different things that you can learn from the magazine.”\u003c/p>\n\u003cp>It’s where skaters learn what shoes are in, what their favorite skaters are up to and what bands are worth checking out. Punk rockers like Black Flag and rappers like Tyler the Creator have graced its pages. But most importantly, \u003cem>Thrasher\u003c/em> is a source of inspiring, cutting edge skateboarding.\u003c/p>\n\u003cp>Some readers rip out the magazine pages and posters and tape them to their bedroom walls.\u003c/p>\n\u003cp>“I remember the pictures that I had on my wall as a kid,” Michael Burnett said. Today he’s the Editor in Chief of \u003cem>Thrasher\u003c/em>. He’s the successor of the late, iconic editor \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Skateboarder-Thrasher-editor-Jake-Phelps-dies-at-13690396.php\" target=\"_blank\" rel=\"noopener noreferrer\">Jake Phelps\u003c/a>. “You would stare at this thing. It was like the Led Zeppelin album cover. You’d get this magazine and you would look at it over and over again. You’re like, how did they get in the air?”\u003c/p>\n\u003cp>Some of the epic skateboarding moments captured in the magazine’s covers include Milton Martinez doing a \u003ca href=\"https://www.youtube.com/watch?v=BAqNOneGRiM&t=557s\" target=\"_blank\" rel=\"noopener noreferrer\">kickflip off the roof of a car wash\u003c/a> in Los Angeles and Andrew Reynolds doing a \u003ca href=\"https://www.youtube.com/watch?v=meepxVVGvYk&t=86s\" target=\"_blank\" rel=\"noopener noreferrer\">backside flip down a staircase\u003c/a> at Wallenberg High School. But perhaps the crown jewel of \u003cem>Thrasher\u003c/em> covers is a photo of \u003ca href=\"https://www.thrashermagazine.com/articles/magazine/november-1997/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Wray in the sky\u003c/a> as he ollies from one water tower to another. [aside postid='pop_85006']\u003c/p>\n\u003cp>Pro skater Alexis Sablone remembers seeing the Wray cover when she was young. “He’s just suspended in midair. I mean, if he didn’t make it, he would die,” she said.\u003c/p>\n\u003cp>Sablone is also \u003ca href=\"https://www.thrashermagazine.com/articles/videos/cons-seize-the-seconds-video/\" target=\"_blank\" rel=\"noopener noreferrer\">featured in the magazine\u003c/a>. In addition to putting out a skate video in \u003cem>Thrasher\u003c/em>, she landed a spot on Team USA before skateboarding’s Olympic debut was postponed last year.\u003c/p>\n\u003cp>Sablone says that when most people see a simple bench or planter, skaters like her see an obstacle to conquer. “You’re constantly looking for skate spots in just your everyday environment,” she said. “It could be a street you’ve gone down a million times, but you always have one eye out for something architecturally strange or something where you’re like ‘That’s skatable.'”\u003c/p>\n\u003cp>There are so many ways to skate, after all. There are no rules in skateboarding. But what every skater has in common is an intimate knowledge of what it’s like to slam into the ground. Sablone says landing tricks can be highly demanding.\u003c/p>\n\u003cfigure id=\"attachment_13891251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg\" alt=\"Alexis Sablone in action. The skateboarder says she's constantly looking for skate spots.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Sablone says she’s constantly looking for skate spots. \u003ccite>(Jonathan Mehring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It becomes like this personal battle,” Sablone said. “It can be the most frustrating thing ever when it’s not going well—and that happens a lot—or it can be the thing that feels the best.”\u003c/p>\n\u003cp>Editor Burnett says there’s no cheating in skateboarding. It’s just you, the board and the concrete. It’s not like you can fake breaking boards or bones.\u003c/p>\n\u003cp>Despite their commitment to all things skateboarding, \u003cem>Thrasher\u003c/em> doesn’t cover competitions like the X Games and they don’t plan to cover the Olympics either.\u003c/p>\n\u003cp>“I look at skateboarding more as art than sport,” Atiba Jefferson, \u003cem>Thrasher\u003c/em> staff photographer, said.\u003c/p>\n\u003cp>A legend in his own right, Jefferson has been on many adventures with skateboarding’s biggest stars. Some skaters, like Jefferson, say that skateboarding is about more than doing a bunch of tricks for points. [aside postid='news_11733418']\u003c/p>\n\u003cp>“You could put guitar playing in the Olympics if you really wanted to. It’s a physical thing, right?” he said. Instead, \u003cem>Thrasher\u003c/em> creators focus more on the skating that happens in the streets.\u003c/p>\n\u003cp>Still, Burnett knows there’s room to grow the skate community. He’s expressed interest in getting everyone who loves skateboarding involved.\u003c/p>\n\u003cp>There are 488 \u003cem>Thrasher\u003c/em> issues. But look at the covers, you’ll quickly see that most of them are photos of men. The number of women featured on the covers can be counted with one hand: three.\u003c/p>\n\u003cp>The magazine has featured more women pro skaters in recent years, but men still dominate the pages and covers.\u003c/p>\n\u003cp>“\u003cem>Thrasher\u003c/em> is one of the biggest, most influential publications in skateboarding. They really lack diversity,” Leo Baker said. Baker is a pro skater who has been featured in the magazine and also earned a spot on Team USA. Last year, they helped create \u003ca href=\"https://www.thrashermagazine.com/articles/on-glue-article/\">Glue Skateboards\u003c/a> with fellow skaters Cher Strauberry and Stephen Ostrowski. [aside postid='arts_13886143']\u003c/p>\n\u003cp>“When Stephen, Cher and I decided to start Glue, a huge part of that was just being able to skate with and be on a team with people that are queer,” Baker said.\u003c/p>\n\u003cp>Glue Skateboards, There Skateboards and The Skate Witches are among the many groups led by queer and women skaters that are helping expand the skate community.\u003c/p>\n\u003cp>“That’s what I love about skateboarding,” Burnett said. “Different groups around the world latch onto skating and make it their own. People get a little taste of it and then they customize it for their scene and their friends and what they’re doing. And that’s really exciting.”\u003c/p>\n\u003cp>In his editor’s note for the anniversary issue, Burnett writes that the magazine relies on, “the rippers, ragers, videographers, builders, artists, weirdos, hellriders and homies who keep on creating, keep on making skateboarding the beautiful, [f*****-up] thing that it is.”\u003c/p>\n\u003cp>It’s because of them that \u003cem>Thrasher\u003c/em> continues to bring skateboarding to people’s fingertips, month after month.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast. Petra Mayer and Milton Guevara adapted it for the Web. \u003c/em>\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=%27Artists%2C+Weirdos%2C+Hellriders+And+Homies%3A%27+Thrasher+Magazine+Turns+40&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Playboy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Glamour.\u003c/em>\u003c/p>\n\u003cp>\u003cem>O.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Teen Vogue.\u003c/em>\u003c/p>\n\u003cp>All these magazines have something in common.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re no longer in print.\u003c/p>\n\u003cp>While these—and many other—publications have shifted to digital only in recent years, there’s a print magazine bucking the trends and still going strong: \u003cem>Thrasher \u003c/em>magazine. Created by skateboarders for skateboarders, \u003cem>Thrasher\u003c/em> celebrates its 40th anniversary this month.\u003c/p>\n\u003cp>Founded in 1981 by Eric Swenson and Fausto Vitello, the San Francisco-based publication has been busting out new issues every month for decades. \u003cem>Thrasher\u003c/em> captures the gnarly antics of skaters as they shred pools, bomb hills and hurl themselves down rails and staircases.\u003c/p>\n\u003cp>“Back then there weren’t that many videos, so that was our source of skateboarding,” Mike Carroll, a professional skateboarder, said.\u003c/p>\n\u003cp>Carroll started reading \u003cem>Thrasher\u003c/em> as a kid in the 80’s. In 1994, he was given the coveted title of \u003cem>Thrasher\u003c/em> Skater of the Year and he’s been on numerous covers.\u003c/p>\n\u003cfigure id=\"attachment_13891250\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891250\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg\" alt=\"Mike Carroll in action. The skateboarder started reading 'Thrasher' as a kid and was Skater of the Year in 1994.\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mike Carroll started reading ‘Thrasher’ as a kid; he was Skater of the Year in 1994. \u003ccite>(Sean Dolinsky /Thrasher Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Skateboarding is so infinite in so many different ways of your love for skateboarding,” he said. “If you’re looking at \u003cem>Thrasher,\u003c/em> reading \u003cem>Thrasher\u003c/em>, there’s so many different things that you can learn from the magazine.”\u003c/p>\n\u003cp>It’s where skaters learn what shoes are in, what their favorite skaters are up to and what bands are worth checking out. Punk rockers like Black Flag and rappers like Tyler the Creator have graced its pages. But most importantly, \u003cem>Thrasher\u003c/em> is a source of inspiring, cutting edge skateboarding.\u003c/p>\n\u003cp>Some readers rip out the magazine pages and posters and tape them to their bedroom walls.\u003c/p>\n\u003cp>“I remember the pictures that I had on my wall as a kid,” Michael Burnett said. Today he’s the Editor in Chief of \u003cem>Thrasher\u003c/em>. He’s the successor of the late, iconic editor \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Skateboarder-Thrasher-editor-Jake-Phelps-dies-at-13690396.php\" target=\"_blank\" rel=\"noopener noreferrer\">Jake Phelps\u003c/a>. “You would stare at this thing. It was like the Led Zeppelin album cover. You’d get this magazine and you would look at it over and over again. You’re like, how did they get in the air?”\u003c/p>\n\u003cp>Some of the epic skateboarding moments captured in the magazine’s covers include Milton Martinez doing a \u003ca href=\"https://www.youtube.com/watch?v=BAqNOneGRiM&t=557s\" target=\"_blank\" rel=\"noopener noreferrer\">kickflip off the roof of a car wash\u003c/a> in Los Angeles and Andrew Reynolds doing a \u003ca href=\"https://www.youtube.com/watch?v=meepxVVGvYk&t=86s\" target=\"_blank\" rel=\"noopener noreferrer\">backside flip down a staircase\u003c/a> at Wallenberg High School. But perhaps the crown jewel of \u003cem>Thrasher\u003c/em> covers is a photo of \u003ca href=\"https://www.thrashermagazine.com/articles/magazine/november-1997/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Wray in the sky\u003c/a> as he ollies from one water tower to another. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pro skater Alexis Sablone remembers seeing the Wray cover when she was young. “He’s just suspended in midair. I mean, if he didn’t make it, he would die,” she said.\u003c/p>\n\u003cp>Sablone is also \u003ca href=\"https://www.thrashermagazine.com/articles/videos/cons-seize-the-seconds-video/\" target=\"_blank\" rel=\"noopener noreferrer\">featured in the magazine\u003c/a>. In addition to putting out a skate video in \u003cem>Thrasher\u003c/em>, she landed a spot on Team USA before skateboarding’s Olympic debut was postponed last year.\u003c/p>\n\u003cp>Sablone says that when most people see a simple bench or planter, skaters like her see an obstacle to conquer. “You’re constantly looking for skate spots in just your everyday environment,” she said. “It could be a street you’ve gone down a million times, but you always have one eye out for something architecturally strange or something where you’re like ‘That’s skatable.'”\u003c/p>\n\u003cp>There are so many ways to skate, after all. There are no rules in skateboarding. But what every skater has in common is an intimate knowledge of what it’s like to slam into the ground. Sablone says landing tricks can be highly demanding.\u003c/p>\n\u003cfigure id=\"attachment_13891251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg\" alt=\"Alexis Sablone in action. The skateboarder says she's constantly looking for skate spots.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Sablone says she’s constantly looking for skate spots. \u003ccite>(Jonathan Mehring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It becomes like this personal battle,” Sablone said. “It can be the most frustrating thing ever when it’s not going well—and that happens a lot—or it can be the thing that feels the best.”\u003c/p>\n\u003cp>Editor Burnett says there’s no cheating in skateboarding. It’s just you, the board and the concrete. It’s not like you can fake breaking boards or bones.\u003c/p>\n\u003cp>Despite their commitment to all things skateboarding, \u003cem>Thrasher\u003c/em> doesn’t cover competitions like the X Games and they don’t plan to cover the Olympics either.\u003c/p>\n\u003cp>“I look at skateboarding more as art than sport,” Atiba Jefferson, \u003cem>Thrasher\u003c/em> staff photographer, said.\u003c/p>\n\u003cp>A legend in his own right, Jefferson has been on many adventures with skateboarding’s biggest stars. Some skaters, like Jefferson, say that skateboarding is about more than doing a bunch of tricks for points. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You could put guitar playing in the Olympics if you really wanted to. It’s a physical thing, right?” he said. Instead, \u003cem>Thrasher\u003c/em> creators focus more on the skating that happens in the streets.\u003c/p>\n\u003cp>Still, Burnett knows there’s room to grow the skate community. He’s expressed interest in getting everyone who loves skateboarding involved.\u003c/p>\n\u003cp>There are 488 \u003cem>Thrasher\u003c/em> issues. But look at the covers, you’ll quickly see that most of them are photos of men. The number of women featured on the covers can be counted with one hand: three.\u003c/p>\n\u003cp>The magazine has featured more women pro skaters in recent years, but men still dominate the pages and covers.\u003c/p>\n\u003cp>“\u003cem>Thrasher\u003c/em> is one of the biggest, most influential publications in skateboarding. They really lack diversity,” Leo Baker said. Baker is a pro skater who has been featured in the magazine and also earned a spot on Team USA. Last year, they helped create \u003ca href=\"https://www.thrashermagazine.com/articles/on-glue-article/\">Glue Skateboards\u003c/a> with fellow skaters Cher Strauberry and Stephen Ostrowski. \u003c/p>\u003c/div>",
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"content": "\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqoLMGSBGYc\u003c/p>\n\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chapman said in her original filing that Minaj’s representatives seemed to already have been aware that Chapman would probably be loathe to OK the arrangement even before they sent the formal request. Weeks before, at the end of June, a music clearance company called DMG sent Chapman’s representatives an exploratory note, allegedly saying that an “A list artist” wanted to use “Baby Can I Hold You,” and asking if Chapman remained on an unofficial “do not sample or interpolate” list. [aside postid='arts_13888864']\u003c/p>\n\u003cp>In a since-deleted tweet posted at the end of July 2018, Minaj wrote that she had “no clue” that her song used “the legend” Chapman’s work, asking her fans: “Do I keep my [release] date & lose the record? Or do I lose the record & keep my date? … Ugh! I’m torn, y’all help.” Separately, she also tweeted to Chapman, asking her for clearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, “Sorry” was not included on Minaj’s album, \u003cem>Queen\u003c/em>, which was released less than a month after her formal request to use the Chapman material—and Minaj’s song leaked anyway, both onto HOT 97 radio in New York via DJ Funkmaster Flex and online.\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=Tracy+Chapman+Wins+Lawsuit+Against+Nicki+Minaj&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\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/DqoLMGSBGYc'\n title='//www.youtube.com/embed/DqoLMGSBGYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a since-deleted tweet posted at the end of July 2018, Minaj wrote that she had “no clue” that her song used “the legend” Chapman’s work, asking her fans: “Do I keep my [release] date & lose the record? Or do I lose the record & keep my date? … Ugh! I’m torn, y’all help.” Separately, she also tweeted to Chapman, asking her for clearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, “Sorry” was not included on Minaj’s album, \u003cem>Queen\u003c/em>, which was released less than a month after her formal request to use the Chapman material—and Minaj’s song leaked anyway, both onto HOT 97 radio in New York via DJ Funkmaster Flex and online.\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=Tracy+Chapman+Wins+Lawsuit+Against+Nicki+Minaj&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With ‘Labor,’ RyanNicole Uplifts Black Women’s Invisible Work",
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"content": "\u003cp>Poised, funny and lyrically razor-sharp, Oakland rapper \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a> is a force for good.\u003c/p>\n\u003cp>Like most artists in the Bay Area, she wears many hats. She’s the founder of the housing justice group the HAVEN Project, an actress, a muse and a mommy—rap just happens to be one of her many weapons in the fight against injustice. And this year has seen its fair share of turmoil.\u003c/p>\n\u003cp>The paradox of being a Black woman in America is to be both highly visible and invisible in the same breath. Women rappers had the most successful year on record. At the same time, the pandemic has had a \u003ca href=\"https://www.npr.org/series/928323746/enough-already-how-the-pandemic-is-breaking-women\" target=\"_blank\" rel=\"noopener noreferrer\">catastrophic economic impact on women\u003c/a>, especially Black mothers.\u003c/p>\n\u003cp>After we performed together in a cypher for \u003cem>\u003ca href=\"http://www.theblackwomanisgod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Woman is God\u003c/a>\u003c/em> virtual exhibition, RyanNicole spoke to me about these contradictions as well as her recent collaboration, “Labor.” The short film—directed by \u003ca href=\"http://www.niemajordan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Niema Jordan\u003c/a>, shot by JJ Harris and commissioned by the \u003ca href=\"https://www.instagram.com/p/CI6O3jAnvGm/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Power\u003c/a>—is a poetic homage to the work Black mothers do to birth radical visions for the future.\u003c/p>\n\u003cp>https://youtu.be/1CE_qFWIAvo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>You’re a rapper, but, of course, you do so many other things. What has being a rapper taught you about life? \u003c/strong>\u003c/p>\n\u003cp>Rap has taught me about bravery, first and foremost. It is not an arena where I was necessarily welcomed with open arms. You know this, so I’m preaching to the choir, but when I came around it was just a bunch of guys. The whole culture was dominated by men. While some of them were friendly, welcoming, and encouraging even, many of them met me with a lot of ire. And the better I got, the more I was challenged, the more I was a threat, the more problematic I became in those circles. And so to continue to push my way through I had to deal with fear in a real way.\u003c/p>\n\u003cp>It’s still an arena where there are definitely challenges. I’ve got to deal with this just palpable fear. And so I continue to do it because there are other areas of my life that fear shows up and becomes a roadblock. And I have a practice now of encountering that roadblock, surmounting that roadblock or knocking it down through rap.\u003c/p>\n\u003cp>\u003cstrong>I love that! You just explained it in such a succinct way, the way that Black women are distanced from the culture we helped create. How do you think that might be connected? When you’re having to be brave, do you think about that when you’re in those spaces?\u003c/strong>\u003c/p>\n\u003cp>The way that I approach it is with a certain entitlement. It gives me fuel. It gives me energy. I’m about rematriation. I’m about reclaiming space that was ours to begin with, even if it wasn’t entirely ours. I’m just here for balance. And we all know that the culture, the music, deserves more of a balance than it currently has.\u003c/p>\n\u003cp>\u003cstrong>Perfect segue. Dad rap is practically it’s own genre. I’ve always wondered, what are the parallels between rapping and mastering the ceremony of motherhood?\u003c/strong>\u003c/p>\n\u003cp>There are real parallels because hip-hop wants to be this young art form, just completely entrenched in youthfulness. This is a misperception of what is precious and valued in life, period. The ability to age is an honor.\u003c/p>\n\u003cp>[Sometimes when people say] “dad rap,” it’s a shunning of older men sharing their perspectives. But these are the men who birthed all these young boys who are currently in the game, trying to define it. We should see the full breadth of their experience. The time when they was blinged-out and rapping about being with all the women. And now, the time when they’re like, “Actually my wife is what I want” or you know, “I’ve survived this game.”\u003c/p>\n\u003cp>\u003cstrong>Yeah, survived the post-Civil Rights era of the ’80s and ’90s.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and the crack era, all of that.\u003c/p>\n\u003cp>I think those older men have a right to speak about that and I’m grateful for it. Our presence is a bit more anemic. I’m not going to outgrow hip-hop, but what I will outgrow, what I have outgrown, is the expression of a certain age group. It’s just real. I don’t want to necessarily graduate to a whole new genre because I’ve outgrown the conversation that is prevalent in my genre. So, I think then there is space and necessity for expressions of women who have aged. And what’s also unfortunate is that there are women who are mothers who are young too. They don’t even talk about that aspect of their lives, which is such a defining aspect.\u003c/p>\n\u003cp>Mom rap is needed in the same way that dad rap is needed. What I’m really saying is that an older perspective is important. We have to age with the genre or else the genre will die. Don’t nobody want to hear about the kind of vapid things that we were interested in in our early teens or early 20s.\u003c/p>\n\u003cfigure id=\"attachment_13876766\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RyanNicoleAustin_COVER.jpg\" alt=\"\" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RyanNicoleAustin_COVER.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RyanNicoleAustin_COVER-160x90.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Austin performing on stage at the 2020 Black Joy Parade in Oakland. \u003ccite>(@jmalphotography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>OK, so you’ve released a powerful piece called, “Labor.” What are some of the ways in which Black women’s labor is invisibilized? How can your art make it visible?\u003c/strong>\u003c/p>\n\u003cp>The piece was inspired by Breonna Taylor. I hadn’t really talked about Breonna the whole time that the situation was going on. The piece came to pass because all I could think about was her being somebody’s child.\u003c/p>\n\u003cp>I don’t know what the opposite of precious is, but how much of a mortal sin is it to take somebody’s child? Knowing, personally knowing, just the time it took to gestate, and then the time it took…and the care…to eat the right things, to work out, to drink water, to sit down, to listen to my body and to listen to the body of the universe surrounding.\u003c/p>\n\u003cp>The first time I could really hear Mother Earth with clarity was when I was pregnant.\u003c/p>\n\u003cp>So, there’s a level of sublime preciousness in gestating a life and then the process of birthing that life. It’s a microcosm of our entire lived experience. You have to surrender at a level that you’ve never surrendered before, you have to believe in yourself in a way—you have to deal with fear. It’s one of the most precious lessons we learn in this life, laboring through having these children. And this is not to take away from anybody who has not, but it’s such a precious experience.\u003c/p>\n\u003cp>And so, to know that life is taken kind of haphazardly. People can kill anybody, but in particular, bust down the doors, shoot aimlessly, come through with droves of people and then go on to cover up that murder—it is just such an affront to my sensibility, not just as a human being, but as a life-giving human being.\u003c/p>\n\u003cp>So, as I was developing “Labor,” all I could think about is how we as women, but particularly as Black women, have mothered so much. We have mothered the culture, have mothered literal lives, have mothered this nation, have mothered this whole thing. Like you’re saying, that labor is invisibilized. But more than that—I don’t know what the opposite word of precious is—trivialized? Not even, it’s worse. It’s so much worse.\u003c/p>\n\u003cp>\u003cstrong>Demonized?\u003c/strong>\u003c/p>\n\u003cp>It’s the process of not just throwing something away, but shitting on it and setting it on fire, you know what I mean? It’s not just enough to discard us. It’s not enough to discard our effort. It’s to discard the effort and entirely ruin it. It’s not just a physical harm, but a soul-harm. And so when I was writing “Labor,” it was embedded with all of that angst and all of that incredulousness. I can’t believe that humanity, that people who call themselves human, can enact such harm on other human beings.\u003c/p>\n\u003cp>Birthing humanity in its full existence is a Black woman’s work that has been ignored. So really that piece is just like a part of that disdain, that sadness… the profound sadness I feel for humanity that can’t see our divinity.\u003c/p>\n\u003cp>\u003cstrong>So what can the challenges Black women face teach people about what needs to change in society overall? \u003c/strong>[aside label='More Arts & Culture' postid='arts_13889948,arts_13890197,arts_13890226']\u003c/p>\n\u003cp>I mean, this is a time when so many people are actually able to empathize a bit more because they’re experiencing some of the things that we experience on a daily basis. Black women who have been impacted by COVID aren’t making a lot of noise about it because we know how to pivot. We know how to make something out of nothing. It’s not to say that the struggle doesn’t need to be acknowledged—it absolutely does—but I think oftentimes we don’t have time to scream and holler about our condition. We have to survive it. So we don’t have the opportunity to advocate for ourselves or champion an issue or cause that is most affecting us. More segments of the population are experiencing the lack of Black women in the workforce…I hope they’re able to zero in on what a day without a Black woman is like on some level.\u003c/p>\n\u003cp>Also, I think society can learn from the Black woman about resilience. I say “resilience” and then like, I’m having this internal fight against this word because I don’t want to have to always be resilient. I want to luxuriate. I don’t even know what that is, but I’d like to have it. Yet life will throw things at you regardless of who you are. You’ll have to survive and you’ll have to contend with that. I think if the country is to learn anything in this time about survival then they should look to the master-teacher, the Black woman.\u003c/p>\n\u003cp>And then from this I think we have something to learn from each other. I think the tide needs to rise for our experience, and hopefully this inspires some empathy among the broader levels of society. Folks don’t want to live through this experience anymore. Hopefully we will work to raise the tide so that all the ships can rise.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poised, funny and lyrically razor-sharp, Oakland rapper \u003ca href=\"https://www.msryannicole.com/\" target=\"_blank\" rel=\"noopener noreferrer\">RyanNicole\u003c/a> is a force for good.\u003c/p>\n\u003cp>Like most artists in the Bay Area, she wears many hats. She’s the founder of the housing justice group the HAVEN Project, an actress, a muse and a mommy—rap just happens to be one of her many weapons in the fight against injustice. And this year has seen its fair share of turmoil.\u003c/p>\n\u003cp>The paradox of being a Black woman in America is to be both highly visible and invisible in the same breath. Women rappers had the most successful year on record. At the same time, the pandemic has had a \u003ca href=\"https://www.npr.org/series/928323746/enough-already-how-the-pandemic-is-breaking-women\" target=\"_blank\" rel=\"noopener noreferrer\">catastrophic economic impact on women\u003c/a>, especially Black mothers.\u003c/p>\n\u003cp>After we performed together in a cypher for \u003cem>\u003ca href=\"http://www.theblackwomanisgod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Black Woman is God\u003c/a>\u003c/em> virtual exhibition, RyanNicole spoke to me about these contradictions as well as her recent collaboration, “Labor.” The short film—directed by \u003ca href=\"http://www.niemajordan.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Niema Jordan\u003c/a>, shot by JJ Harris and commissioned by the \u003ca href=\"https://www.instagram.com/p/CI6O3jAnvGm/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Power\u003c/a>—is a poetic homage to the work Black mothers do to birth radical visions for the future.\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/1CE_qFWIAvo'\n title='//www.youtube.com/embed/1CE_qFWIAvo'\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>\u003cstrong>You’re a rapper, but, of course, you do so many other things. What has being a rapper taught you about life? \u003c/strong>\u003c/p>\n\u003cp>Rap has taught me about bravery, first and foremost. It is not an arena where I was necessarily welcomed with open arms. You know this, so I’m preaching to the choir, but when I came around it was just a bunch of guys. The whole culture was dominated by men. While some of them were friendly, welcoming, and encouraging even, many of them met me with a lot of ire. And the better I got, the more I was challenged, the more I was a threat, the more problematic I became in those circles. And so to continue to push my way through I had to deal with fear in a real way.\u003c/p>\n\u003cp>It’s still an arena where there are definitely challenges. I’ve got to deal with this just palpable fear. And so I continue to do it because there are other areas of my life that fear shows up and becomes a roadblock. And I have a practice now of encountering that roadblock, surmounting that roadblock or knocking it down through rap.\u003c/p>\n\u003cp>\u003cstrong>I love that! You just explained it in such a succinct way, the way that Black women are distanced from the culture we helped create. How do you think that might be connected? When you’re having to be brave, do you think about that when you’re in those spaces?\u003c/strong>\u003c/p>\n\u003cp>The way that I approach it is with a certain entitlement. It gives me fuel. It gives me energy. I’m about rematriation. I’m about reclaiming space that was ours to begin with, even if it wasn’t entirely ours. I’m just here for balance. And we all know that the culture, the music, deserves more of a balance than it currently has.\u003c/p>\n\u003cp>\u003cstrong>Perfect segue. Dad rap is practically it’s own genre. I’ve always wondered, what are the parallels between rapping and mastering the ceremony of motherhood?\u003c/strong>\u003c/p>\n\u003cp>There are real parallels because hip-hop wants to be this young art form, just completely entrenched in youthfulness. This is a misperception of what is precious and valued in life, period. The ability to age is an honor.\u003c/p>\n\u003cp>[Sometimes when people say] “dad rap,” it’s a shunning of older men sharing their perspectives. But these are the men who birthed all these young boys who are currently in the game, trying to define it. We should see the full breadth of their experience. The time when they was blinged-out and rapping about being with all the women. And now, the time when they’re like, “Actually my wife is what I want” or you know, “I’ve survived this game.”\u003c/p>\n\u003cp>\u003cstrong>Yeah, survived the post-Civil Rights era of the ’80s and ’90s.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and the crack era, all of that.\u003c/p>\n\u003cp>I think those older men have a right to speak about that and I’m grateful for it. Our presence is a bit more anemic. I’m not going to outgrow hip-hop, but what I will outgrow, what I have outgrown, is the expression of a certain age group. It’s just real. I don’t want to necessarily graduate to a whole new genre because I’ve outgrown the conversation that is prevalent in my genre. So, I think then there is space and necessity for expressions of women who have aged. And what’s also unfortunate is that there are women who are mothers who are young too. They don’t even talk about that aspect of their lives, which is such a defining aspect.\u003c/p>\n\u003cp>Mom rap is needed in the same way that dad rap is needed. What I’m really saying is that an older perspective is important. We have to age with the genre or else the genre will die. Don’t nobody want to hear about the kind of vapid things that we were interested in in our early teens or early 20s.\u003c/p>\n\u003cfigure id=\"attachment_13876766\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RyanNicoleAustin_COVER.jpg\" alt=\"\" width=\"750\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RyanNicoleAustin_COVER.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RyanNicoleAustin_COVER-160x90.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">RyanNicole Austin performing on stage at the 2020 Black Joy Parade in Oakland. \u003ccite>(@jmalphotography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>OK, so you’ve released a powerful piece called, “Labor.” What are some of the ways in which Black women’s labor is invisibilized? How can your art make it visible?\u003c/strong>\u003c/p>\n\u003cp>The piece was inspired by Breonna Taylor. I hadn’t really talked about Breonna the whole time that the situation was going on. The piece came to pass because all I could think about was her being somebody’s child.\u003c/p>\n\u003cp>I don’t know what the opposite of precious is, but how much of a mortal sin is it to take somebody’s child? Knowing, personally knowing, just the time it took to gestate, and then the time it took…and the care…to eat the right things, to work out, to drink water, to sit down, to listen to my body and to listen to the body of the universe surrounding.\u003c/p>\n\u003cp>The first time I could really hear Mother Earth with clarity was when I was pregnant.\u003c/p>\n\u003cp>So, there’s a level of sublime preciousness in gestating a life and then the process of birthing that life. It’s a microcosm of our entire lived experience. You have to surrender at a level that you’ve never surrendered before, you have to believe in yourself in a way—you have to deal with fear. It’s one of the most precious lessons we learn in this life, laboring through having these children. And this is not to take away from anybody who has not, but it’s such a precious experience.\u003c/p>\n\u003cp>And so, to know that life is taken kind of haphazardly. People can kill anybody, but in particular, bust down the doors, shoot aimlessly, come through with droves of people and then go on to cover up that murder—it is just such an affront to my sensibility, not just as a human being, but as a life-giving human being.\u003c/p>\n\u003cp>So, as I was developing “Labor,” all I could think about is how we as women, but particularly as Black women, have mothered so much. We have mothered the culture, have mothered literal lives, have mothered this nation, have mothered this whole thing. Like you’re saying, that labor is invisibilized. But more than that—I don’t know what the opposite word of precious is—trivialized? Not even, it’s worse. It’s so much worse.\u003c/p>\n\u003cp>\u003cstrong>Demonized?\u003c/strong>\u003c/p>\n\u003cp>It’s the process of not just throwing something away, but shitting on it and setting it on fire, you know what I mean? It’s not just enough to discard us. It’s not enough to discard our effort. It’s to discard the effort and entirely ruin it. It’s not just a physical harm, but a soul-harm. And so when I was writing “Labor,” it was embedded with all of that angst and all of that incredulousness. I can’t believe that humanity, that people who call themselves human, can enact such harm on other human beings.\u003c/p>\n\u003cp>Birthing humanity in its full existence is a Black woman’s work that has been ignored. So really that piece is just like a part of that disdain, that sadness… the profound sadness I feel for humanity that can’t see our divinity.\u003c/p>\n\u003cp>\u003cstrong>So what can the challenges Black women face teach people about what needs to change in society overall? \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I mean, this is a time when so many people are actually able to empathize a bit more because they’re experiencing some of the things that we experience on a daily basis. Black women who have been impacted by COVID aren’t making a lot of noise about it because we know how to pivot. We know how to make something out of nothing. It’s not to say that the struggle doesn’t need to be acknowledged—it absolutely does—but I think oftentimes we don’t have time to scream and holler about our condition. We have to survive it. So we don’t have the opportunity to advocate for ourselves or champion an issue or cause that is most affecting us. More segments of the population are experiencing the lack of Black women in the workforce…I hope they’re able to zero in on what a day without a Black woman is like on some level.\u003c/p>\n\u003cp>Also, I think society can learn from the Black woman about resilience. I say “resilience” and then like, I’m having this internal fight against this word because I don’t want to have to always be resilient. I want to luxuriate. I don’t even know what that is, but I’d like to have it. Yet life will throw things at you regardless of who you are. You’ll have to survive and you’ll have to contend with that. I think if the country is to learn anything in this time about survival then they should look to the master-teacher, the Black woman.\u003c/p>\n\u003cp>And then from this I think we have something to learn from each other. I think the tide needs to rise for our experience, and hopefully this inspires some empathy among the broader levels of society. Folks don’t want to live through this experience anymore. Hopefully we will work to raise the tide so that all the ships can rise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "e-40-and-too-horts-verzuz-battle-a-treasure-trove-of-bay-area-hip-hop-culture",
"title": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture",
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"headTitle": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture | KQED",
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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\">T\u003c/span>\u003cspan style=\"font-weight: 400\">he Bay Area’s hip-hop culture is as rich as the soil from which it grows. We should value it like the property in the region.\u003c/span>\u003c/p>\n\u003cp>\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>\u003cspan style=\"font-weight: 400\">In the bedroom closet of this little apartment I’ve been renting for just over a year (in Sacramento because the Bay is too damn expensive), I’ve got a little bit of that history tucked off in a shoebox. It’s full of printed photos and digital images archived on external drives. It’s my stash of golden nuggets that I’ve mined during my 15-plus years of being a documentarian, and lifetime of soaking up \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since our rich Bay Area hip-hop culture will be center stage this coming weekend, I figured it’s time to share a little bit of the wealth. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9389058/verzuz-battles-ranked-instagram\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a>, the online musical battle series backed by mega-producers Timbaland and Swizz Beatz, is scheduled to feature Bay Area superstars \u003ca href=\"https://www.instagram.com/p/CIwO8zqDVw3/\" target=\"_blank\" rel=\"noopener noreferrer\">E-40 and Too $hort\u003c/a> on Saturday, Dec. 19.\u003c/p>\n\u003cfigure id=\"attachment_13890442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg\" alt=\"Me in New York pointing to a small poster advertising the release of E-40's My Ghetto Report Card\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Me in New York pointing to a small poster advertising the release of E-40’s My Ghetto Report Card in late January, 2006. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the event’s announcement on Sunday, a virtual chat room titled “The Bay Is In The Area” on the all-audio social media app Clubhouse got a surprise appearance from Mr. 40 Water himself. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 Fonzarelli explained that during the upcoming battle he’ll be wearing his rapper hat, so he can’t be “the goon with the spoon,” for catering purposes. He said his Bay Area rap Mount Rushmore includes himself, Too $hort, Mac Dre and MC Hammer (with a nod to Tupac, but Pac is also on the overall hip-hop Mount Rushmore, so there’s that). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked 40 Belafonte about his 1996 track “\u003c/span>\u003ca href=\"https://genius.com/E-40-record-haters-lyrics\">\u003cspan style=\"font-weight: 400\">Record Haters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” (a diss to Brooklyn rapper AZ and NBA star Rasheed Wallace), in which Uncle Earl says, “My niggas 3X Krazy laced me/ \u003c/span>\u003cspan style=\"font-weight: 400\">Taught me how to say ‘fa sheezy.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png\" alt=\"Pendarvis Harshaw wearing a "100% Intelligent Black Child" shirt while standing next to D'Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-2048x1350.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1920x1266.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw wearing a “100% Intelligent Black Child” shirt while standing next to D’Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My question: did 3x Krazy, a popular East Oakland rap group from the late ’90s and early ’00s consisting of Keak Da Sneak, Agerman and Bart, really teach The Ambassador how to say “fa sheezy”? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mr. Charlie Hustle confirmed that they did indeed. And then The Ballatician went on to explain how that term gave birth to a new way of speaking, one that’s evident in Lil Wayne’s usage of “Lil Weezy,” Kanye West’s moniker of “Kanyeezy” and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a preview of the larger lesson on the etymology of popular slang we’re sure to get during the upcoming battle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earl Stevens told the attendees of the chat that he “hardly has enough time to eat a pistachio,” so he’d have to exit the convo. It’s true—the 53-year-old fixture from the hillside in Vallejo dropped multiple albums in 2020, and he’s working on \u003ca href=\"https://hiphopdx.com/news/id.59525/title.too-short-explains-snoop-dogg-ice-cube-e-40-supergroup-is-for-hip-hop-not-the-bag#signup\" target=\"_blank\" rel=\"noopener noreferrer\">an album with Snoop, Too $hort and Ice Cube\u003c/a> for 2021. But before he left the virtual room, he mentioned he’d be posting old photos ahead of this weekend’s battle, just to let people see a bit of his story. Which is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">lightweight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> our story. Our culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It got me to thinking about that collection in my closet.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">t’s not \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> there. I’ve lost all the airbrushed shirts. And I’m wounded because those size 38, baggy Girbaud jeans with the straps that I wore when I weighed 140 pounds would probably fit well right about now. But a\u003c/span>\u003cspan style=\"font-weight: 400\">t least \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">\u003cspan style=\"font-weight: 400\">my video of Stomper goin’ dumb\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> still exists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hold tight to what I do have: my photos of that time\u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Nipsey Hussle brought the Jacka on stage\u003c/a> in December of 2013. (Both of them are now deceased.) Dear to me, too, are the pictures from that evening \u003ca href=\"http://hiphopandpolitics.com/2012/03/15/oaklands-townhall-on-misogyny-teen-violence-the-influence-of-rap-music-w-too-short/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Dereca Blackmon and Too $hort\u003c/a> sat in Oakland’s City Hall chambers and held a conversation about misogyny in hip-hop in March of 2012.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Arguably my most important stash of printed photos is from \u003c/span>\u003cspan style=\"font-weight: 400\">October 2005. A little more than a month after Hurricane Katrina ravaged the gulf coast, there was a \u003ca href=\"https://archive.upcoming.org/event/bay-area-saving-ourselves-sos-benefit-concert-32878\" target=\"_blank\" rel=\"noopener noreferrer\">Saving Ourselves S.O.S. Hurricane Katrina Benefit\u003c/a> concert held at the Henry J. Kaiser Convention Center in Oakland in effort to support folks in the south. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Backed by Comcast Cable and The First African Methodist Episcopal (A.M.E.) Church of Oakland\u003c/span>, the event was organized by former Oakland City Councilperson Desley Brooks, the late trumpeter \u003ca href=\"https://www.kqed.org/arts/13869182/oaktown-jazz-workshops-a-beacon-of-youth-music-programs-turns-25\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Shaheed\u003c/a> and Tony! Toni! Toné!’s Dwayne Wiggins. \u003cspan style=\"font-weight: 400\">The show featured jazz greats Bobby Hutcherson and Nicholas Payton. Hip-hop and R&B artists like Spice-1, EA-Ski and Jennifer Johns were also in the building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was one of the first events I ever covered. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890445\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg\" alt=\"Dr. Ameer Loggins when he was known as Left, half of the the Frontline duo.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ameer Loggins, aka Left, half of the the Frontline duo posing for a photo at the Henry J. Kaiser Auditorium. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">En route to the show I hit the Walgreens on 14th and Broadway and liberated two disposable cameras. I had a digital video camera and a small voice recorder too, but those have since vanished. All that’s left are the photos from the disposable cameras.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Within the stack of image after image of people in airbrushed T-shirts is a photo of Keak The Sneak—wearing an airbrushed T-shirt of himself. I took the photo right after he told me about his family roots in Alabama, and why the event meant so much to him. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890439\" class=\"wp-caption alignnone\" style=\"max-width: 419px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Keak-800x1162.png\" alt=\"East Oakland emcee Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak.\" width=\"419\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1058x1536.png 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1410x2048.png 1410w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1920x2789.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak.png 1941w\" sizes=\"(max-width: 419px) 100vw, 419px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland rapper Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a photo of rapper San Quinn in the dressing room, surrounded by his folks from the City, including Big Rich, Ya Boy (also known as Rich Rocka) and Bailey, whose song “U C It” (featuring J. Valentine) was getting a lot of spins at the time. After the photo, I recall Quinn pulling me aside and suggesting I interview a firefighter who was in the room—saying he was the real star. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The night ended with a good friend of mine, Jesus El, being harassed and arrested by the Oakland Police Department. The overly aggressive officers made for an anti-climatic ending to the evening, and simultaneously exemplified another aspect of Bay Area hip-hop culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what came from that night was a small sample—a couple of golden nuggets—of what the culture was like at the time. (My Lord, did we really wear that many airbrushed shirts?) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890441 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Quinn-800x600.jpg\" alt=\"San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It also shows the importance of\u003c/span>\u003cspan style=\"font-weight: 400\"> someone valuing the story of the Bay Area’s hip-hop culture. \u003c/span>And with that said, I’m kicking myself because there should be so much more.\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>\u003cspan style=\"font-weight: 400\"> should have the video I shot from the night before Husalah turned himself in to face federal time. I should have the photos from that evening I sat in on a studio session with a group of youngsters named \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U&ab_channel=kellymdickpromotions\" target=\"_blank\" rel=\"noopener noreferrer\">Poplyfe\u003c/a>, which featured a vocalist named \u003ca href=\"https://www.kqed.org/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>. I should have the tapes from the day I interviewed journalist \u003ca href=\"http://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, when he told me about Tupac living on the other side of the Lake—a conversation that lasted two hours and concluded with me going to the Federation’s video shoot for the song “\u003ca href=\"https://www.youtube.com/watch?v=kuVwF80ydqA\" target=\"_blank\" rel=\"noopener noreferrer\">18 Dummy\u003c/a>,” on Alameda’s Naval Air Station. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890443\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png\" alt=\"Goapele singing at an event at SF State in 2005. \" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-768x1156.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF.png 876w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Also found in my archives: a photo of Goapele singing at an event at San Francisco State University in 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m hella salty about all the stories untold, photos unpublished and videos unshared, because I know each tale pushes the value of the culture that much further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>… all the more reason to share what I do have. \u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hot97.com/hip-hop-news/hot-news/ashanti-vs-keyshia-cole-verzuz-cancelled-singer-tested-postive-for-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">If this weekend’s event happens\u003c/a>, I’m sure it’ll bring about more gold than one can hold. [aside postid='arts_13890048']\u003c/p>\n\u003cp>My hope is that the event not only pushes our region a step further down the path of the recognition it deserves, but also inspires other folks to dig in their crates, closets and computer chips and share some of the cultural riches they’re sitting on.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2198604807\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "A musical battle between two heavyweights inspires columnist Pendarvis Harshaw to dig into his personal archives.",
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"title": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture | KQED",
"description": "A musical battle between two heavyweights inspires columnist Pendarvis Harshaw to dig into his personal archives.",
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"headline": "E-40 and Too $hort’s Verzuz Battle: A Treasure Trove of Bay Area Hip-Hop Culture",
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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>\u003cspan style=\"font-weight: 400\">he Bay Area’s hip-hop culture is as rich as the soil from which it grows. We should value it like the property in the region.\u003c/span>\u003c/p>\n\u003cp>\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>\u003cspan style=\"font-weight: 400\">In the bedroom closet of this little apartment I’ve been renting for just over a year (in Sacramento because the Bay is too damn expensive), I’ve got a little bit of that history tucked off in a shoebox. It’s full of printed photos and digital images archived on external drives. It’s my stash of golden nuggets that I’ve mined during my 15-plus years of being a documentarian, and lifetime of soaking up \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">game\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in the Bay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since our rich Bay Area hip-hop culture will be center stage this coming weekend, I figured it’s time to share a little bit of the wealth. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9389058/verzuz-battles-ranked-instagram\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a>, the online musical battle series backed by mega-producers Timbaland and Swizz Beatz, is scheduled to feature Bay Area superstars \u003ca href=\"https://www.instagram.com/p/CIwO8zqDVw3/\" target=\"_blank\" rel=\"noopener noreferrer\">E-40 and Too $hort\u003c/a> on Saturday, Dec. 19.\u003c/p>\n\u003cfigure id=\"attachment_13890442\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890442\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg\" alt=\"Me in New York pointing to a small poster advertising the release of E-40's My Ghetto Report Card\" width=\"800\" height=\"455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-800x455.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-1020x580.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/E-40-in-NY.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Me in New York pointing to a small poster advertising the release of E-40’s My Ghetto Report Card in late January, 2006. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just after the event’s announcement on Sunday, a virtual chat room titled “The Bay Is In The Area” on the all-audio social media app Clubhouse got a surprise appearance from Mr. 40 Water himself. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">E-40 Fonzarelli explained that during the upcoming battle he’ll be wearing his rapper hat, so he can’t be “the goon with the spoon,” for catering purposes. He said his Bay Area rap Mount Rushmore includes himself, Too $hort, Mac Dre and MC Hammer (with a nod to Tupac, but Pac is also on the overall hip-hop Mount Rushmore, so there’s that). \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I asked 40 Belafonte about his 1996 track “\u003c/span>\u003ca href=\"https://genius.com/E-40-record-haters-lyrics\">\u003cspan style=\"font-weight: 400\">Record Haters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” (a diss to Brooklyn rapper AZ and NBA star Rasheed Wallace), in which Uncle Earl says, “My niggas 3X Krazy laced me/ \u003c/span>\u003cspan style=\"font-weight: 400\">Taught me how to say ‘fa sheezy.’” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png\" alt=\"Pendarvis Harshaw wearing a "100% Intelligent Black Child" shirt while standing next to D'Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-2048x1350.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/PEN-and-DWAYNE-1920x1266.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw wearing a “100% Intelligent Black Child” shirt while standing next to D’Wayne Wiggins backstage at the S.O.S. Hurricane Katrina Benefit Concert in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">My question: did 3x Krazy, a popular East Oakland rap group from the late ’90s and early ’00s consisting of Keak Da Sneak, Agerman and Bart, really teach The Ambassador how to say “fa sheezy”? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mr. Charlie Hustle confirmed that they did indeed. And then The Ballatician went on to explain how that term gave birth to a new way of speaking, one that’s evident in Lil Wayne’s usage of “Lil Weezy,” Kanye West’s moniker of “Kanyeezy” and more. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a preview of the larger lesson on the etymology of popular slang we’re sure to get during the upcoming battle. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Earl Stevens told the attendees of the chat that he “hardly has enough time to eat a pistachio,” so he’d have to exit the convo. It’s true—the 53-year-old fixture from the hillside in Vallejo dropped multiple albums in 2020, and he’s working on \u003ca href=\"https://hiphopdx.com/news/id.59525/title.too-short-explains-snoop-dogg-ice-cube-e-40-supergroup-is-for-hip-hop-not-the-bag#signup\" target=\"_blank\" rel=\"noopener noreferrer\">an album with Snoop, Too $hort and Ice Cube\u003c/a> for 2021. But before he left the virtual room, he mentioned he’d be posting old photos ahead of this weekend’s battle, just to let people see a bit of his story. Which is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">lightweight\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> our story. Our culture. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It got me to thinking about that collection in my closet.\u003c/span>\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>\u003cspan style=\"font-weight: 400\">t’s not \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">all\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> there. I’ve lost all the airbrushed shirts. And I’m wounded because those size 38, baggy Girbaud jeans with the straps that I wore when I weighed 140 pounds would probably fit well right about now. But a\u003c/span>\u003cspan style=\"font-weight: 400\">t least \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zdst63FWSCs\">\u003cspan style=\"font-weight: 400\">my video of Stomper goin’ dumb\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> still exists.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hold tight to what I do have: my photos of that time\u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\"> Nipsey Hussle brought the Jacka on stage\u003c/a> in December of 2013. (Both of them are now deceased.) Dear to me, too, are the pictures from that evening \u003ca href=\"http://hiphopandpolitics.com/2012/03/15/oaklands-townhall-on-misogyny-teen-violence-the-influence-of-rap-music-w-too-short/\" target=\"_blank\" rel=\"noopener noreferrer\">Rev. Dereca Blackmon and Too $hort\u003c/a> sat in Oakland’s City Hall chambers and held a conversation about misogyny in hip-hop in March of 2012.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Arguably my most important stash of printed photos is from \u003c/span>\u003cspan style=\"font-weight: 400\">October 2005. A little more than a month after Hurricane Katrina ravaged the gulf coast, there was a \u003ca href=\"https://archive.upcoming.org/event/bay-area-saving-ourselves-sos-benefit-concert-32878\" target=\"_blank\" rel=\"noopener noreferrer\">Saving Ourselves S.O.S. Hurricane Katrina Benefit\u003c/a> concert held at the Henry J. Kaiser Convention Center in Oakland in effort to support folks in the south. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Backed by Comcast Cable and The First African Methodist Episcopal (A.M.E.) Church of Oakland\u003c/span>, the event was organized by former Oakland City Councilperson Desley Brooks, the late trumpeter \u003ca href=\"https://www.kqed.org/arts/13869182/oaktown-jazz-workshops-a-beacon-of-youth-music-programs-turns-25\" target=\"_blank\" rel=\"noopener noreferrer\">Khalil Shaheed\u003c/a> and Tony! Toni! Toné!’s Dwayne Wiggins. \u003cspan style=\"font-weight: 400\">The show featured jazz greats Bobby Hutcherson and Nicholas Payton. Hip-hop and R&B artists like Spice-1, EA-Ski and Jennifer Johns were also in the building. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was one of the first events I ever covered. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890445\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg\" alt=\"Dr. Ameer Loggins when he was known as Left, half of the the Frontline duo.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Left-Frontline-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dr. Ameer Loggins, aka Left, half of the the Frontline duo posing for a photo at the Henry J. Kaiser Auditorium. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">En route to the show I hit the Walgreens on 14th and Broadway and liberated two disposable cameras. I had a digital video camera and a small voice recorder too, but those have since vanished. All that’s left are the photos from the disposable cameras.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Within the stack of image after image of people in airbrushed T-shirts is a photo of Keak The Sneak—wearing an airbrushed T-shirt of himself. I took the photo right after he told me about his family roots in Alabama, and why the event meant so much to him. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890439\" class=\"wp-caption alignnone\" style=\"max-width: 419px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13890439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Keak-800x1162.png\" alt=\"East Oakland emcee Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak.\" width=\"419\" height=\"608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1058x1536.png 1058w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1410x2048.png 1410w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak-1920x2789.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Keak.png 1941w\" sizes=\"(max-width: 419px) 100vw, 419px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland rapper Keak Da Sneak wearing an airbrushed shirt of Keak Da Sneak. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also a photo of rapper San Quinn in the dressing room, surrounded by his folks from the City, including Big Rich, Ya Boy (also known as Rich Rocka) and Bailey, whose song “U C It” (featuring J. Valentine) was getting a lot of spins at the time. After the photo, I recall Quinn pulling me aside and suggesting I interview a firefighter who was in the room—saying he was the real star. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The night ended with a good friend of mine, Jesus El, being harassed and arrested by the Oakland Police Department. The overly aggressive officers made for an anti-climatic ending to the evening, and simultaneously exemplified another aspect of Bay Area hip-hop culture.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But what came from that night was a small sample—a couple of golden nuggets—of what the culture was like at the time. (My Lord, did we really wear that many airbrushed shirts?) \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890441\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13890441 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Quinn-800x600.jpg\" alt=\"San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Quinn-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco rappers, including Ya Boy (sunglasses), San Quinn (center, far back), Bailey (Blue SF hat) and Big Rich (far right) pose for a photo at the Henry J. Kaiser Auditorium in Oakland. October 2005.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It also shows the importance of\u003c/span>\u003cspan style=\"font-weight: 400\"> someone valuing the story of the Bay Area’s hip-hop culture. \u003c/span>And with that said, I’m kicking myself because there should be so much more.\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>\u003cspan style=\"font-weight: 400\"> should have the video I shot from the night before Husalah turned himself in to face federal time. I should have the photos from that evening I sat in on a studio session with a group of youngsters named \u003ca href=\"https://www.youtube.com/watch?v=X03wPJpQG4U&ab_channel=kellymdickpromotions\" target=\"_blank\" rel=\"noopener noreferrer\">Poplyfe\u003c/a>, which featured a vocalist named \u003ca href=\"https://www.kqed.org/arts/13830316/kehlani-is-queering-mainstream-pop-and-the-bay-area-is-here-for-it\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a>. I should have the tapes from the day I interviewed journalist \u003ca href=\"http://www.daveyd.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Davey D\u003c/a>, when he told me about Tupac living on the other side of the Lake—a conversation that lasted two hours and concluded with me going to the Federation’s video shoot for the song “\u003ca href=\"https://www.youtube.com/watch?v=kuVwF80ydqA\" target=\"_blank\" rel=\"noopener noreferrer\">18 Dummy\u003c/a>,” on Alameda’s Naval Air Station. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13890443\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png\" alt=\"Goapele singing at an event at SF State in 2005. \" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF-768x1156.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Goapele-in-SF.png 876w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Also found in my archives: a photo of Goapele singing at an event at San Francisco State University in 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m hella salty about all the stories untold, photos unpublished and videos unshared, because I know each tale pushes the value of the culture that much further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>… all the more reason to share what I do have. \u003c/em> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.hot97.com/hip-hop-news/hot-news/ashanti-vs-keyshia-cole-verzuz-cancelled-singer-tested-postive-for-covid-19/\" target=\"_blank\" rel=\"noopener noreferrer\">If this weekend’s event happens\u003c/a>, I’m sure it’ll bring about more gold than one can hold. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My hope is that the event not only pushes our region a step further down the path of the recognition it deserves, but also inspires other folks to dig in their crates, closets and computer chips and share some of the cultural riches they’re sitting on.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 10 Best Bay Area Albums of 2020",
"headTitle": "The 10 Best Bay Area Albums of 2020 | KQED",
"content": "\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=202612447/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1015931905/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=676995628/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=277021995/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=983504168/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2886199336/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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