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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tierra Whack’s 2018 debut, \u003cem>Whack World\u003c/em>, gave a taste of the breakout star’s weird imagination in 15 one-minute-long, bite-sized pieces. Without such stringent time constraints, her hour-long Outside Lands set allowed her oddball, colorful personality to flourish in one of the day’s most dynamic performances.\u003c/p>\n\u003cp>Whack took the stage Saturday in a \u003cem>Cat in the Hat \u003c/em>T-shirt dress draped in tassels, plus matching red-and-white socks and Jordans. Opening with her propulsive trap single “Westbound Eastbound,” she worked the crowd, running back and forth and imploring the audience to turn up with her cartoonish facial expressions.\u003c/p>\n\u003cp>The packed crowd happily obeyed. After asking if there were any birthdays in the house, Whack climbed onto the barrier as if about to crowdsurf, and then, endearingly, handed out cupcakes. (When she was finished, her DJ revealed that it was actually Whack’s birthday, and the audience sang to her.)\u003c/p>\n\u003cfigure id=\"attachment_13863641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6704-800x533.jpg\" alt=\"Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper then ran through her \u003cem>Whack World\u003c/em> tracks, each one distilling a different emotion in 60 seconds—a testament to her effectiveness as a songwriter and performer. The twangy “F-ck Off” gave the audience an opportunity for catharsis as they jumped up and down with middle fingers raised, cursing their “deadbeat dads.” During the sexy, winding R&B joint “Hungry Hippo,” she walked offstage in a pseudo-diva moment because the audience didn’t sing along loudly enough. She returned more hyped than ever when they yelled the lyrics to her satisfaction.\u003c/p>\n\u003cp>After a call and response of “Whack! Whack!,” Whack had her audience repeat weird noises—the kind little kids might make when they think adults aren’t listening to their game of pretend. It was the sound of Tierra Whack taking Outside Lands to the wonderful, wacky world of her imagination.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Backed by gospel singers in church robes, Childish Gambino told the Outside Lands audience to put their phones away because “this is church.” Though he commanded the largest crowd in the festival’s history, as he announced, he took care to make the show feel as intimate as possible during Saturday’s headlining set, which he began by singing a cappella in the middle of the audience and giving high fives on the way to the main stage.\u003c/p>\n\u003cp>Calling Oakland his second home, he sang his 2013 pop-rap homage to the Bay Area, “Telegraph Ave. (“Oakland” by Lloyd).” When it came time to perform “This is America,” Gambino—shirtless and in white pants, just like in the music video—broke out in a frenzied dance that underscored the song’s frenetic tempo changes and message of spiritual and political upheaval.\u003c/p>\n\u003cfigure id=\"attachment_13863639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6646-800x533.jpg\" alt=\"Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Altin Gün\u003c/strong>\u003c/p>\n\u003cp>Hailing from Amsterdam, the multicultural, psychedelic sextet Altin Gün fused Turkish folk sounds with well-placed electronics and oozing funk-rock instrumentation. Singer, keyboardist and \u003cem>baglama\u003c/em> player Erdinc Yildiz Ecevit proved to be the star of the show with his breathy, dramatic vocal delivery and impressive dexterity on keys and strings alike. Though the audience couldn’t understand the band’s Turkish lyrics, they happily danced and snapped along in the sun.\u003c/p>\n\u003cfigure id=\"attachment_13863645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Big Wild\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indie pop singer Jackson Stell, a.k.a. Big Wild, showed off his many abilities as his big, wild hair billowed in the wind. Electronic drumming? Check. Singing anthemic hooks? Check. Not one, but two whistle solos?! Check. Accompanied by an all-woman band in matching jumpsuits and red lipstick, Stell’s soul and disco-infused tracks took the audience to ecstatic heights.\u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day Two\u003c/h2>\n\u003cfigure id=\"attachment_13863654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6792-800x533.jpg\" alt=\"Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-800x533.jpg\" alt=\"CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-800x533.jpg\" alt=\"Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6882-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6799-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-800x533.jpg\" alt=\"Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6742-800x533.jpg\" alt=\"Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6803-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6888-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-800x533.jpg\" alt=\"Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6633-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6722-800x533.jpg\" alt=\"Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6893-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Gambino led a sermon, Whack handed out cupcakes, and Saturday's Outside Lands crowd was reportedly the largest in the festival's history.",
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"title": "Tierra Whack's Weirdness, Childish Gambino's Doctrine: Outside Lands Day Two Highlights | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tierra Whack’s 2018 debut, \u003cem>Whack World\u003c/em>, gave a taste of the breakout star’s weird imagination in 15 one-minute-long, bite-sized pieces. Without such stringent time constraints, her hour-long Outside Lands set allowed her oddball, colorful personality to flourish in one of the day’s most dynamic performances.\u003c/p>\n\u003cp>Whack took the stage Saturday in a \u003cem>Cat in the Hat \u003c/em>T-shirt dress draped in tassels, plus matching red-and-white socks and Jordans. Opening with her propulsive trap single “Westbound Eastbound,” she worked the crowd, running back and forth and imploring the audience to turn up with her cartoonish facial expressions.\u003c/p>\n\u003cp>The packed crowd happily obeyed. After asking if there were any birthdays in the house, Whack climbed onto the barrier as if about to crowdsurf, and then, endearingly, handed out cupcakes. (When she was finished, her DJ revealed that it was actually Whack’s birthday, and the audience sang to her.)\u003c/p>\n\u003cfigure id=\"attachment_13863641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6704-800x533.jpg\" alt=\"Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper then ran through her \u003cem>Whack World\u003c/em> tracks, each one distilling a different emotion in 60 seconds—a testament to her effectiveness as a songwriter and performer. The twangy “F-ck Off” gave the audience an opportunity for catharsis as they jumped up and down with middle fingers raised, cursing their “deadbeat dads.” During the sexy, winding R&B joint “Hungry Hippo,” she walked offstage in a pseudo-diva moment because the audience didn’t sing along loudly enough. She returned more hyped than ever when they yelled the lyrics to her satisfaction.\u003c/p>\n\u003cp>After a call and response of “Whack! Whack!,” Whack had her audience repeat weird noises—the kind little kids might make when they think adults aren’t listening to their game of pretend. It was the sound of Tierra Whack taking Outside Lands to the wonderful, wacky world of her imagination.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Backed by gospel singers in church robes, Childish Gambino told the Outside Lands audience to put their phones away because “this is church.” Though he commanded the largest crowd in the festival’s history, as he announced, he took care to make the show feel as intimate as possible during Saturday’s headlining set, which he began by singing a cappella in the middle of the audience and giving high fives on the way to the main stage.\u003c/p>\n\u003cp>Calling Oakland his second home, he sang his 2013 pop-rap homage to the Bay Area, “Telegraph Ave. (“Oakland” by Lloyd).” When it came time to perform “This is America,” Gambino—shirtless and in white pants, just like in the music video—broke out in a frenzied dance that underscored the song’s frenetic tempo changes and message of spiritual and political upheaval.\u003c/p>\n\u003cfigure id=\"attachment_13863639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6646-800x533.jpg\" alt=\"Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Altin Gün\u003c/strong>\u003c/p>\n\u003cp>Hailing from Amsterdam, the multicultural, psychedelic sextet Altin Gün fused Turkish folk sounds with well-placed electronics and oozing funk-rock instrumentation. Singer, keyboardist and \u003cem>baglama\u003c/em> player Erdinc Yildiz Ecevit proved to be the star of the show with his breathy, dramatic vocal delivery and impressive dexterity on keys and strings alike. Though the audience couldn’t understand the band’s Turkish lyrics, they happily danced and snapped along in the sun.\u003c/p>\n\u003cfigure id=\"attachment_13863645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Big Wild\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indie pop singer Jackson Stell, a.k.a. Big Wild, showed off his many abilities as his big, wild hair billowed in the wind. Electronic drumming? Check. Singing anthemic hooks? Check. Not one, but two whistle solos?! Check. Accompanied by an all-woman band in matching jumpsuits and red lipstick, Stell’s soul and disco-infused tracks took the audience to ecstatic heights.\u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day Two\u003c/h2>\n\u003cfigure id=\"attachment_13863654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6792-800x533.jpg\" alt=\"Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-800x533.jpg\" alt=\"CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-800x533.jpg\" alt=\"Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6882-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6799-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-800x533.jpg\" alt=\"Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6742-800x533.jpg\" alt=\"Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6803-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6888-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-800x533.jpg\" alt=\"Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6633-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6722-800x533.jpg\" alt=\"Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6893-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "lil-wayne-bodied-outside-lands-day-one-and-other-highlights",
"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
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"headTitle": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
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"content": "\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
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"headline": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "hip-hop-you-doin-good",
"title": "Hip-Hop, You Doin' Good",
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"headTitle": "Hip-Hop, You Doin’ Good | 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\">O\u003c/span>ne time for hip-hop.\u003c/p>\n\u003cp>You’re influential. You’re in politics, technology and sports. You run pop culture, and you’re talking about ownership. You’re in the ears of folks: young, old and older. You’re the most popular genre of music in the United States, and you’re still growing.\u003c/p>\n\u003cp>I’m going to tell you if no one else has: hip-hop, ya doin’ good, baby.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> quick recap of some of the headlines from the past week or two in hip-hop: Freddie Gibbs \u003ca href=\"https://twitter.com/XXL/status/1154959589009289216\" target=\"_blank\" rel=\"noopener\">spat fire while holding his son\u003c/a>, Tyler The Creator laid down some \u003ca href=\"https://www.nytimes.com/2019/07/29/arts/music/tyler-the-creator-funkmaster-flex.html\" target=\"_blank\" rel=\"noopener\">bars about having sex with men\u003c/a>, simultaneously challenging homophobia in the rap game and causing Funkmaster Flex to nearly have a conniption. A slew of people dropped their list of Top 50 rappers ever, leaving old heads to argue about the importance of KRS-One and MC Lyte. Meanwhile, younger artists continued to put out new heat, like YBN Cordae, who dropped his debut album \u003cem>\u003ca href=\"https://pitchfork.com/reviews/albums/ybn-cordae-the-lost-boy/\" target=\"_blank\" rel=\"noopener\">The Lost Boy\u003c/a>\u003c/em>, a well-polished project that even hip-hop heads stuck in the ’90s can appreciate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/XXL/status/1154959589009289216\u003c/p>\n\u003cp>A broader review of this year in rap has seen Lil Nas X blur the lines between country music and hip-hop, and in doing so, \u003ca href=\"https://www.kqed.org/arts/13862433/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history\" target=\"_blank\" rel=\"noopener\">break the record\u003c/a> for the most consecutive weeks at the top of the Billboard charts. Megan Thee Stallion caught folks’ attention, and made ’em change their entire 2019 agenda; “hot girl summer” is so real that she’s even reportedly \u003ca href=\"http://thesource.com/2019/07/24/megan-hot-girl-summer/\" target=\"_blank\" rel=\"noopener\">trademarking the phrase\u003c/a>. And the late Nipsey Hussle’s legacy of longevity through self-sufficiency continues to grow: despite a \u003ca href=\"https://www.nytimes.com/2019/07/25/us/nipsey-hussle-los-angeles.html\" target=\"_blank\" rel=\"noopener\">longstanding investigation\u003c/a> into Hussle’s business empire, last week it was \u003ca href=\"https://www.vibe.com/2019/08/development-begins-on-the-nipsey-hussle-tower-at-marathon-clothing-store\" target=\"_blank\" rel=\"noopener\">announced that a tower\u003c/a> would be erected in the late MC’s honor. The marathon continues.\u003c/p>\n\u003cp>Hip-hop is in a good state.\u003c/p>\n\u003cp>And I love it. I really do love it. The rebellious culture. The stories. The clever wordplay. The beats. I’m married to this music and the culture from which it emanates.\u003c/p>\n\u003cp>I know that now, after an on-and-off relationship with hip-hop since the early ’90s.\u003c/p>\n\u003cp>It started off as thug passion: I stole a tape of Bone-Thugs-n-Harmony’s \u003cem>E. 1999 Eternal\u003c/em> from the Tower Records in Emeryville when I was seven or eight years old. I had the \u003cem>Friday\u003c/em> soundtrack, listened to it on my sister’s Discman. I loved Mac Mall’s “Get Right,” Ice Cube’s “It Was a Good Day,” Snoop and Dre’s “Nuthin’ But A G Thang.” The Luniz asked, “Why you wanna playa hate on me?” Dru Down asked, “Can you feel me?” And Tupac asked, “Does heaven have a ghetto?”\u003c/p>\n\u003cp>And then Pac was taken from us. I was hurt.\u003c/p>\n\u003cp>Biggie was taken from us. I was hurt again.\u003c/p>\n\u003cp>That was the first time the music I loved hurt me. And you know, the first cut is the deepest.\u003c/p>\n\u003cp>I almost fell out of love with hip-hop before we even really got started. But the deaths of the two legendary rappers actually motivated me to drop my west coast bias; I realized the east coast had some dope MCs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e5PnuIRnJW8\u003c/p>\n\u003cp>DMX made me bark. Foxy Brown was the flyest, and she had bars. And Big Pun was spectacular with the wordplay. Ma$e had me wearing my hat backwards. I was probably the only kid on AC Transit blasting Big L through my taped-up Sony headphones. I got my writing style from literally taking Nas’ verses and flipping the words to fit my life’s story.\u003c/p>\n\u003cp>Around that same time, Outkast told the world that \u003ca href=\"https://www.youtube.com/watch?v=vwLG7aSYM3w\" target=\"_blank\" rel=\"noopener\">the South got something to say\u003c/a>. The “\u003ca href=\"https://www.youtube.com/watch?v=h1fBYUWxaKQ\" target=\"_blank\" rel=\"noopener\">Make ‘Em Say Uhh!\u003c/a>” video was always on \u003ca href=\"https://www.thrillist.com/entertainment/nation/the-box-tv-channel-changed-music\" target=\"_blank\" rel=\"noopener\">The Box\u003c/a>. Scarface spoke to me. Devin was \u003ca href=\"https://www.youtube.com/watch?v=Fo_2TE6C56Y\" target=\"_blank\" rel=\"noopener\">that Dude\u003c/a>. Trina was the baddest (expletive). And then Cash Money \u003ca href=\"https://www.youtube.com/watch?v=WL2txMU50CI\" target=\"_blank\" rel=\"noopener\">took over for the 99 and the 2000\u003c/a>.\u003c/p>\n\u003cp>That was the honeymoon phase of my prepubescent romance with hip-hop. I considered getting a gold grill as a sign of our holy matrimony, but my momma wasn’t going to have it.\u003c/p>\n\u003cp>The fairytale ended around the time the hormones kicked in, my voice got deep and other forms of love caught my attention. At the same time, the music got weird: big bright clothes, “\u003ca href=\"https://www.youtube.com/watch?v=aitJkK7XrI0\" target=\"_blank\" rel=\"noopener\">snap rap\u003c/a>” and ringtone beats in the early 2000s pushed rap to the back.\u003c/p>\n\u003cp>There were certain aspects that kept me attracted to the music. The Jay-Z vs. Nas beef. Folks like Nelly, Eminem and Missy were making noise, and the south was running things: Gucci Mane had a movement. Free Boosie was more than a saying. Young Jeezy, Ludacris, and T.I. were dropping classics. And Lil Wayne was on another planet with the flow.\u003c/p>\n\u003cp>At the same time, the Town had this new thing brewing, something about “goin’ 18 dummy.” It was a spirit that jumped up from the soil and got into my people; it bled into the music and became a movement. “The Hyphy Movement,” they called it. We called it life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CBJtzEKetBM\u003c/p>\n\u003cp>Too $hort left Atlanta, moved back to the Town and \u003ca href=\"https://www.youtube.com/watch?v=CBJtzEKetBM\" target=\"_blank\" rel=\"noopener\">brought a whistle\u003c/a>. Mistah F.A.B. \u003ca href=\"https://www.youtube.com/watch?v=wLz5Y3-wwp4\" target=\"_blank\" rel=\"noopener\">drove the yellow bus\u003c/a> to the front of the class. And Goapele, oh Goapele. Her hit “\u003ca href=\"https://www.youtube.com/watch?v=Tb9fkGCCV1o\" target=\"_blank\" rel=\"noopener\">Closer\u003c/a>” was officially R&B, but to me—to us—it was simply slappin’. When the video for “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>” dropped, the world stopped. I can’t tell you how happy I was that Keak Da Sneak was getting recognition, and that 40 Water had \u003ca href=\"https://youtu.be/K71IXLQpGss?t=20s\" target=\"_blank\" rel=\"noopener\">caught his second wind, pimp\u003c/a>. Man. RIP Mac Dre.\u003c/p>\n\u003cp>As glorious as those times were, honestly, I wasn’t in love with hip-hop. Both hyphy and crunk sometimes tap-danced the line of being gimmicky. I couldn’t do the D4L or the Soulja Boy thing, and that’s what was dominating the airwaves. Plus, around that time I started getting deeper into journalism. I didn’t want to be another “black hip-hop journalist,” so I didn’t write about it much.\u003c/p>\n\u003cp>But you know how it goes. The music and I stayed in touch.\u003c/p>\n\u003cp>I took note when Kanye West outsold 50 Cent. Word was that physical album sales were down, and the industry was declining; only half true. That decline in physical sales was real, \u003ca href=\"https://www.billboard.com/articles/business/8495067/hip-hop-album-sales-plummeting-fast-why-artists-teams-dont-mind\">and continues\u003c/a>, but now, artists have the ability to count streams and downloads from digital albums and mixtapes. That, coupled with the ability to interact with fans on social media, results in revenue via merchandise and touring, and an ability to operate independently. It opened the doors to a next generation of hip-hop.\u003c/p>\n\u003cp>It was far removed from my early experience of rap, you know, “thug passion”—this was more like \u003ca href=\"https://www.youtube.com/watch?v=_aVa7qVKUHI\" target=\"_blank\" rel=\"noopener\">computer love\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rSx1m9UOiK0\u003c/p>\n\u003cp>For me, the \u003ca href=\"https://www.xxlmag.com/news/2010/04/2010-xxl-freshman-class/\" target=\"_blank\" rel=\"noopener\">\u003cem>XXL\u003c/em> Freshman lineup of 2010\u003c/a> was a good sign. Not a total change, but an altered direction.\u003c/p>\n\u003cp>J. Cole and Wiz Khalifa were cold. Freddie Gibbs was the first musician I heard from Gary, Indiana who didn’t have the last name Jackson. Big K.R.I.T. was the first rapper I heard from Mississippi aside from David Banner. Curren$y emerged from lackluster experiences at Ca$h Money and No Limit to create Jet Life, and I was on board with the movement. And around that same time, I heard about this kid named Kendrick.\u003c/p>\n\u003cp>In the Bay, the Mekanix and DJ Fresh were dropping joints like Jordan dropped retros. Beeda Weeda and J. Stalin put out a few bangers. Man, RIP The Jacka.\u003c/p>\n\u003cp>The highlight of that post-Kanye/50 Cent early mixtape era was how the best rappers weren’t exactly gangstas or gimmicks, they were people. Many even used their real names. That was appealing. Music was relatable, and it kept hip-hop very much alive, despite Nas’ claim that hip-hop was dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xQ3OStBQfwk\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he relationship has stood well since then, gone through some ups and downs, but the marriage has survived.\u003c/p>\n\u003cp>There were times when I didn’t care for the whole singing/rapping thing. Autotune was death. Drake kind of made me want to revert to the gangsta tunes of the mid-’90s. Jay-Z dropped some real mediocre albums. The idea of Tupac’s hologram being at Coachella was disgusting.\u003c/p>\n\u003cp>But at the same time, Nicki Minaj’s combination of punchlines and wild voices hit me over the head. I found whole universes in the music that Future and Travis Scott put out. While Chicago as a whole needs to be mentioned for artists like Chance the Rapper and Saba Pivot, it’s Noname that stands out to me the most—her delivery and wordplay are so cold.\u003c/p>\n\u003cp>Music has evolved. Popular artists now explicitly write about mental health, unrequited love and depression, all wrapped in dope samples and 808 kicks.\u003c/p>\n\u003cp>Can’t lie, I don’t understand all of it. Kodak Black doesn’t hit for me. Blueface isn’t on beat. And rest easy XXXTentacion, but I listened, and didn’t get it.\u003c/p>\n\u003cp>I’ve been following the paths of Rapsody, Isaiah Rashad and Little Simz. Appreciating what I’ve recently heard from Benny the Butcher, Tierra Whack, DaBaby and more. I even like that singing-rapping stuff that Anderson .Paak, Smino and GoldLink do.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x5c2iRHlAHA\u003c/p>\n\u003cp>Around the Bay, there’s a \u003cem>long\u003c/em> list. Larry June, Kamaiyah, ALLBLACK, and that “My Type” song by Saweetie. Rexx Life Raj is also creative as hell, he dropped a little something on \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1155303093086539781?s=20\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> recently that speaks to his creativity.\u003c/p>\n\u003cp>And for my stuck-in-the-’90s head-ass folks: Pusha T is still rapping about dope, Busta Rhymes dropped a track this month, and it’s not bad. My favorite rapper, Nas, dropped an album this summer; it’s extra lukewarm, but I’m happy he’s still rocking. Hell, even Common put out “\u003ca href=\"https://www.youtube.com/watch?v=vRS8e-lysQU\" target=\"_blank\" rel=\"noopener\">HER Love\u003c/a>,” a sort of follow-up to “I Used to Love H.E.R.,” although honestly, it’s kind of corny. (When it comes to older rappers making lyrical odes to the rap game, I prefer Suga Free’s recently released “\u003ca href=\"https://www.youtube.com/watch?v=PIgJ5u4Ek8Q\" target=\"_blank\" rel=\"noopener\">TMZ\u003c/a>.”)\u003c/p>\n\u003cp>Scarface is running for political office, Kanye and Kim Kardashian are fighting for prison reform (go figure?) and Andre 3000 is walking around with a frickin’ flute.\u003c/p>\n\u003cp>Look, this relationship started in the aftermath of “Fuck tha Police,” grew to “My President is Black,” and came back again to “\u003ca href=\"https://www.youtube.com/watch?v=WkZ5e94QnWk\" target=\"_blank\" rel=\"noopener\">FDT\u003c/a>.” It’s gone through baggy jeans and bling bling. From underground counterculture to a feast for culture vultures.\u003c/p>\n\u003cp>And despite everything, it’s still going. Still growing. Still gaining momentum.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s how a healthy marriage should be.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne time for hip-hop.\u003c/p>\n\u003cp>You’re influential. You’re in politics, technology and sports. You run pop culture, and you’re talking about ownership. You’re in the ears of folks: young, old and older. You’re the most popular genre of music in the United States, and you’re still growing.\u003c/p>\n\u003cp>I’m going to tell you if no one else has: hip-hop, ya doin’ good, baby.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> quick recap of some of the headlines from the past week or two in hip-hop: Freddie Gibbs \u003ca href=\"https://twitter.com/XXL/status/1154959589009289216\" target=\"_blank\" rel=\"noopener\">spat fire while holding his son\u003c/a>, Tyler The Creator laid down some \u003ca href=\"https://www.nytimes.com/2019/07/29/arts/music/tyler-the-creator-funkmaster-flex.html\" target=\"_blank\" rel=\"noopener\">bars about having sex with men\u003c/a>, simultaneously challenging homophobia in the rap game and causing Funkmaster Flex to nearly have a conniption. A slew of people dropped their list of Top 50 rappers ever, leaving old heads to argue about the importance of KRS-One and MC Lyte. Meanwhile, younger artists continued to put out new heat, like YBN Cordae, who dropped his debut album \u003cem>\u003ca href=\"https://pitchfork.com/reviews/albums/ybn-cordae-the-lost-boy/\" target=\"_blank\" rel=\"noopener\">The Lost Boy\u003c/a>\u003c/em>, a well-polished project that even hip-hop heads stuck in the ’90s can appreciate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A broader review of this year in rap has seen Lil Nas X blur the lines between country music and hip-hop, and in doing so, \u003ca href=\"https://www.kqed.org/arts/13862433/lil-nas-x-lassos-the-record-for-longest-running-no-1-song-in-u-s-chart-history\" target=\"_blank\" rel=\"noopener\">break the record\u003c/a> for the most consecutive weeks at the top of the Billboard charts. Megan Thee Stallion caught folks’ attention, and made ’em change their entire 2019 agenda; “hot girl summer” is so real that she’s even reportedly \u003ca href=\"http://thesource.com/2019/07/24/megan-hot-girl-summer/\" target=\"_blank\" rel=\"noopener\">trademarking the phrase\u003c/a>. And the late Nipsey Hussle’s legacy of longevity through self-sufficiency continues to grow: despite a \u003ca href=\"https://www.nytimes.com/2019/07/25/us/nipsey-hussle-los-angeles.html\" target=\"_blank\" rel=\"noopener\">longstanding investigation\u003c/a> into Hussle’s business empire, last week it was \u003ca href=\"https://www.vibe.com/2019/08/development-begins-on-the-nipsey-hussle-tower-at-marathon-clothing-store\" target=\"_blank\" rel=\"noopener\">announced that a tower\u003c/a> would be erected in the late MC’s honor. The marathon continues.\u003c/p>\n\u003cp>Hip-hop is in a good state.\u003c/p>\n\u003cp>And I love it. I really do love it. The rebellious culture. The stories. The clever wordplay. The beats. I’m married to this music and the culture from which it emanates.\u003c/p>\n\u003cp>I know that now, after an on-and-off relationship with hip-hop since the early ’90s.\u003c/p>\n\u003cp>It started off as thug passion: I stole a tape of Bone-Thugs-n-Harmony’s \u003cem>E. 1999 Eternal\u003c/em> from the Tower Records in Emeryville when I was seven or eight years old. I had the \u003cem>Friday\u003c/em> soundtrack, listened to it on my sister’s Discman. I loved Mac Mall’s “Get Right,” Ice Cube’s “It Was a Good Day,” Snoop and Dre’s “Nuthin’ But A G Thang.” The Luniz asked, “Why you wanna playa hate on me?” Dru Down asked, “Can you feel me?” And Tupac asked, “Does heaven have a ghetto?”\u003c/p>\n\u003cp>And then Pac was taken from us. I was hurt.\u003c/p>\n\u003cp>Biggie was taken from us. I was hurt again.\u003c/p>\n\u003cp>That was the first time the music I loved hurt me. And you know, the first cut is the deepest.\u003c/p>\n\u003cp>I almost fell out of love with hip-hop before we even really got started. But the deaths of the two legendary rappers actually motivated me to drop my west coast bias; I realized the east coast had some dope MCs.\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/e5PnuIRnJW8'\n title='//www.youtube.com/embed/e5PnuIRnJW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>DMX made me bark. Foxy Brown was the flyest, and she had bars. And Big Pun was spectacular with the wordplay. Ma$e had me wearing my hat backwards. I was probably the only kid on AC Transit blasting Big L through my taped-up Sony headphones. I got my writing style from literally taking Nas’ verses and flipping the words to fit my life’s story.\u003c/p>\n\u003cp>Around that same time, Outkast told the world that \u003ca href=\"https://www.youtube.com/watch?v=vwLG7aSYM3w\" target=\"_blank\" rel=\"noopener\">the South got something to say\u003c/a>. The “\u003ca href=\"https://www.youtube.com/watch?v=h1fBYUWxaKQ\" target=\"_blank\" rel=\"noopener\">Make ‘Em Say Uhh!\u003c/a>” video was always on \u003ca href=\"https://www.thrillist.com/entertainment/nation/the-box-tv-channel-changed-music\" target=\"_blank\" rel=\"noopener\">The Box\u003c/a>. Scarface spoke to me. Devin was \u003ca href=\"https://www.youtube.com/watch?v=Fo_2TE6C56Y\" target=\"_blank\" rel=\"noopener\">that Dude\u003c/a>. Trina was the baddest (expletive). And then Cash Money \u003ca href=\"https://www.youtube.com/watch?v=WL2txMU50CI\" target=\"_blank\" rel=\"noopener\">took over for the 99 and the 2000\u003c/a>.\u003c/p>\n\u003cp>That was the honeymoon phase of my prepubescent romance with hip-hop. I considered getting a gold grill as a sign of our holy matrimony, but my momma wasn’t going to have it.\u003c/p>\n\u003cp>The fairytale ended around the time the hormones kicked in, my voice got deep and other forms of love caught my attention. At the same time, the music got weird: big bright clothes, “\u003ca href=\"https://www.youtube.com/watch?v=aitJkK7XrI0\" target=\"_blank\" rel=\"noopener\">snap rap\u003c/a>” and ringtone beats in the early 2000s pushed rap to the back.\u003c/p>\n\u003cp>There were certain aspects that kept me attracted to the music. The Jay-Z vs. Nas beef. Folks like Nelly, Eminem and Missy were making noise, and the south was running things: Gucci Mane had a movement. Free Boosie was more than a saying. Young Jeezy, Ludacris, and T.I. were dropping classics. And Lil Wayne was on another planet with the flow.\u003c/p>\n\u003cp>At the same time, the Town had this new thing brewing, something about “goin’ 18 dummy.” It was a spirit that jumped up from the soil and got into my people; it bled into the music and became a movement. “The Hyphy Movement,” they called it. We called it life.\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/CBJtzEKetBM'\n title='//www.youtube.com/embed/CBJtzEKetBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Too $hort left Atlanta, moved back to the Town and \u003ca href=\"https://www.youtube.com/watch?v=CBJtzEKetBM\" target=\"_blank\" rel=\"noopener\">brought a whistle\u003c/a>. Mistah F.A.B. \u003ca href=\"https://www.youtube.com/watch?v=wLz5Y3-wwp4\" target=\"_blank\" rel=\"noopener\">drove the yellow bus\u003c/a> to the front of the class. And Goapele, oh Goapele. Her hit “\u003ca href=\"https://www.youtube.com/watch?v=Tb9fkGCCV1o\" target=\"_blank\" rel=\"noopener\">Closer\u003c/a>” was officially R&B, but to me—to us—it was simply slappin’. When the video for “\u003ca href=\"https://www.youtube.com/watch?v=2GZbaXdK8Js\" target=\"_blank\" rel=\"noopener\">Tell Me When To Go\u003c/a>” dropped, the world stopped. I can’t tell you how happy I was that Keak Da Sneak was getting recognition, and that 40 Water had \u003ca href=\"https://youtu.be/K71IXLQpGss?t=20s\" target=\"_blank\" rel=\"noopener\">caught his second wind, pimp\u003c/a>. Man. RIP Mac Dre.\u003c/p>\n\u003cp>As glorious as those times were, honestly, I wasn’t in love with hip-hop. Both hyphy and crunk sometimes tap-danced the line of being gimmicky. I couldn’t do the D4L or the Soulja Boy thing, and that’s what was dominating the airwaves. Plus, around that time I started getting deeper into journalism. I didn’t want to be another “black hip-hop journalist,” so I didn’t write about it much.\u003c/p>\n\u003cp>But you know how it goes. The music and I stayed in touch.\u003c/p>\n\u003cp>I took note when Kanye West outsold 50 Cent. Word was that physical album sales were down, and the industry was declining; only half true. That decline in physical sales was real, \u003ca href=\"https://www.billboard.com/articles/business/8495067/hip-hop-album-sales-plummeting-fast-why-artists-teams-dont-mind\">and continues\u003c/a>, but now, artists have the ability to count streams and downloads from digital albums and mixtapes. That, coupled with the ability to interact with fans on social media, results in revenue via merchandise and touring, and an ability to operate independently. It opened the doors to a next generation of hip-hop.\u003c/p>\n\u003cp>It was far removed from my early experience of rap, you know, “thug passion”—this was more like \u003ca href=\"https://www.youtube.com/watch?v=_aVa7qVKUHI\" target=\"_blank\" rel=\"noopener\">computer love\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rSx1m9UOiK0'\n title='//www.youtube.com/embed/rSx1m9UOiK0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For me, the \u003ca href=\"https://www.xxlmag.com/news/2010/04/2010-xxl-freshman-class/\" target=\"_blank\" rel=\"noopener\">\u003cem>XXL\u003c/em> Freshman lineup of 2010\u003c/a> was a good sign. Not a total change, but an altered direction.\u003c/p>\n\u003cp>J. Cole and Wiz Khalifa were cold. Freddie Gibbs was the first musician I heard from Gary, Indiana who didn’t have the last name Jackson. Big K.R.I.T. was the first rapper I heard from Mississippi aside from David Banner. Curren$y emerged from lackluster experiences at Ca$h Money and No Limit to create Jet Life, and I was on board with the movement. And around that same time, I heard about this kid named Kendrick.\u003c/p>\n\u003cp>In the Bay, the Mekanix and DJ Fresh were dropping joints like Jordan dropped retros. Beeda Weeda and J. Stalin put out a few bangers. Man, RIP The Jacka.\u003c/p>\n\u003cp>The highlight of that post-Kanye/50 Cent early mixtape era was how the best rappers weren’t exactly gangstas or gimmicks, they were people. Many even used their real names. That was appealing. Music was relatable, and it kept hip-hop very much alive, despite Nas’ claim that hip-hop was dead.\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/xQ3OStBQfwk'\n title='//www.youtube.com/embed/xQ3OStBQfwk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he relationship has stood well since then, gone through some ups and downs, but the marriage has survived.\u003c/p>\n\u003cp>There were times when I didn’t care for the whole singing/rapping thing. Autotune was death. Drake kind of made me want to revert to the gangsta tunes of the mid-’90s. Jay-Z dropped some real mediocre albums. The idea of Tupac’s hologram being at Coachella was disgusting.\u003c/p>\n\u003cp>But at the same time, Nicki Minaj’s combination of punchlines and wild voices hit me over the head. I found whole universes in the music that Future and Travis Scott put out. While Chicago as a whole needs to be mentioned for artists like Chance the Rapper and Saba Pivot, it’s Noname that stands out to me the most—her delivery and wordplay are so cold.\u003c/p>\n\u003cp>Music has evolved. Popular artists now explicitly write about mental health, unrequited love and depression, all wrapped in dope samples and 808 kicks.\u003c/p>\n\u003cp>Can’t lie, I don’t understand all of it. Kodak Black doesn’t hit for me. Blueface isn’t on beat. And rest easy XXXTentacion, but I listened, and didn’t get it.\u003c/p>\n\u003cp>I’ve been following the paths of Rapsody, Isaiah Rashad and Little Simz. Appreciating what I’ve recently heard from Benny the Butcher, Tierra Whack, DaBaby and more. I even like that singing-rapping stuff that Anderson .Paak, Smino and GoldLink do.\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/x5c2iRHlAHA'\n title='//www.youtube.com/embed/x5c2iRHlAHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Around the Bay, there’s a \u003cem>long\u003c/em> list. Larry June, Kamaiyah, ALLBLACK, and that “My Type” song by Saweetie. Rexx Life Raj is also creative as hell, he dropped a little something on \u003ca href=\"https://twitter.com/RexxLifeRaj/status/1155303093086539781?s=20\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a> recently that speaks to his creativity.\u003c/p>\n\u003cp>And for my stuck-in-the-’90s head-ass folks: Pusha T is still rapping about dope, Busta Rhymes dropped a track this month, and it’s not bad. My favorite rapper, Nas, dropped an album this summer; it’s extra lukewarm, but I’m happy he’s still rocking. Hell, even Common put out “\u003ca href=\"https://www.youtube.com/watch?v=vRS8e-lysQU\" target=\"_blank\" rel=\"noopener\">HER Love\u003c/a>,” a sort of follow-up to “I Used to Love H.E.R.,” although honestly, it’s kind of corny. (When it comes to older rappers making lyrical odes to the rap game, I prefer Suga Free’s recently released “\u003ca href=\"https://www.youtube.com/watch?v=PIgJ5u4Ek8Q\" target=\"_blank\" rel=\"noopener\">TMZ\u003c/a>.”)\u003c/p>\n\u003cp>Scarface is running for political office, Kanye and Kim Kardashian are fighting for prison reform (go figure?) and Andre 3000 is walking around with a frickin’ flute.\u003c/p>\n\u003cp>Look, this relationship started in the aftermath of “Fuck tha Police,” grew to “My President is Black,” and came back again to “\u003ca href=\"https://www.youtube.com/watch?v=WkZ5e94QnWk\" target=\"_blank\" rel=\"noopener\">FDT\u003c/a>.” It’s gone through baggy jeans and bling bling. From underground counterculture to a feast for culture vultures.\u003c/p>\n\u003cp>And despite everything, it’s still going. Still growing. Still gaining momentum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s how a healthy marriage should be.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose Jazz Summer Fest: In the Pocket at 30",
"headTitle": "San Jose Jazz Summer Fest: In the Pocket at 30 | KQED",
"content": "\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>[aside postID='arts_13857655,arts_13804037,arts_10885260' label='More San Jose Jazz']Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "How the venerable South Bay institution San Jose Jazz got from 1990 to today.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, an estimated 40,000 people will descend on downtown San Jose for the 30th anniversary of the \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Summer Fest\u003c/a>. (And yes, extra security is expected.)\u003c/p>\n\u003cp>As you might expect, the original ambition was decidedly more modest in 1990. So says Artistic & Festival Director Bruce Labadie, there at the creation: “We decided to have it free and outdoors and, basically, was going to be made successful by selling beer.”\u003c/p>\n\u003cp>Of course, a few sponsorship deals helped, as did careful selection of eight headliners, including Bobby Hutcherson, Freddie Hubbard, and Poncho Sánchez. “10,000 people showed up over two days. It was amazing. So we knew it was going to be successful from the beginning.”\u003c/p>\n\u003cp>30 years later, the Summer Fest is much bigger: 14 stages instead of two, 150 acts, or so, instead of eight. But also, the organization itself is much bigger than its annual summer fest.\u003c/p>\n\u003cp>“There’s really nothing else like it in the Bay Area,” says jazz writer Andy Gilbert, who’s covered the organization for KQED over many years. “This takes over downtown San Jose, around the Plaza de Cesar Chavez. You’ve got outdoor stages. It’s a huge street party, with fantastic music.”\u003c/p>\n\u003cfigure id=\"attachment_13863066\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg\" alt=\"Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest.\" width=\"1600\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38405_Yes_2001deedeebridgewaterandy-qut-1200x896.jpg 1200w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Bridgewater headlined the 2001 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re also active year round. We do a couple hundred performances throughout all of San Jose throughout the year. We also do a Winter Fest and then we’re active in a lot of San Jose schools with different music education programs,” said Executive Director Brendan Rawson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marketing Director Massimo Chisessi adds, “San Jose Jazz has nurtured a local ecology of musicians here, through jams year-round. We also bring them work, gigs at local restaurants. One of the results is there’s a lot more interest now in live music (in downtown San Jose) than there was 30 years ago.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rawson estimates half of the Summer Fest’s audience is local to Silicon Valley. The other half is split between the greater Bay Area and the world beyond, stretching as far afield as Los Angeles, Chicago and Atlanta.\u003c/p>\n\u003cp>Full disclosure: I grew up in a family full of talented jazz composers, and I love jazz. But like a lot of musical traditions, jazz’s audience is growing frailer and paler, and it’s dropped off the radio dial in many cities.\u003c/p>\n\u003cp>So I had to ask, how has San Jose Jazz survived and thrived? Short answer: like most jazz festivals, with a definition of jazz much more expansive than what insiders call “straight-ahead.” That, along with smooth jazz, makes up only 20 percent of what’s on the roster of San Jose Jazz today. The rest represents gospel, blues, funk, soul, hip hop, R&B, and of course, lots of salsa.\u003c/p>\n\u003cfigure id=\"attachment_13863068\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg\" alt=\"Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest.\" width=\"1920\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38408_SJJSummerfest_TromboneShortyandOrleansAvenue6_creditBruceFram-qut-1200x795.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trombone Shorty and Orleans Avenue during the 2011 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Bruce Fram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s nothing like seeing a band live onstage, because it’s infectious, it’s contagious, it’s … it’s music that you want to dance to!” said Betto Arcos of KPCC in Los Angeles, one of a host of curators who bring specialized rolodexes with them, along with bigger, broader audiences from the Bay Area and beyond.\u003c/p>\n\u003cp>“This year we’re bringing a band from Columbia (\u003ca href=\"http://www.la-33.com\" target=\"_blank\" rel=\"noopener\">Orquesta La 33\u003c/a>). This is like the top salsa band from Colombia has come into perform to the Jazz Fest,” Arcos adds.\u003c/p>\n\u003cp>Gilbert says San Jose Jazz’s commitment to Latin music has been genuine since the beginning. “Showing how that is woven in to the fabric of jazz. This year is no different.”\u003c/p>\n\u003cp>Labadie say the audiences who come to San Jose Jazz come with big, broad musical appetites, keen to take in the unfamiliar and cheer on the young and the local. Why not, when about 40 percent of music is free?\u003c/p>\n\u003ch2>Jazz is roots music\u003c/h2>\n\u003cp>“There’s a lot of these young artists that come of age in a hip hop generation, but they’re incredibly well-trained jazz artists, and you’re seeing them sort of in sort of informing and shaping a lot of popular music today,” Rawson says.\u003c/p>\n\u003cp>It’s fair to say San Jose Jazz has helped to “inform and shape” by giving an early chance to musicians coming up. Labadie has a lot of stories along these lines…\u003c/p>\n\u003cfigure id=\"attachment_13863069\" class=\"wp-caption aligncenter\" style=\"max-width: 1543px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13863069\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg\" alt=\"John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest.\" width=\"1543\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut.jpg 1543w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38406_Yes_2002johnsantosandy-qut-1200x933.jpg 1200w\" sizes=\"(max-width: 1543px) 100vw, 1543px\">\u003cfigcaption class=\"wp-caption-text\">John Santos with the Machete Ensemble at the 2002 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Andy Nozaka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Years ago, we had the \u003ca href=\"https://www.lulawashington.org\" target=\"_blank\" rel=\"noopener\">Lulu Washington Dance Company\u003c/a>, and the guy that promotes it, the husband of Lulu Washington, said, ‘Oh, my nephew is really a good player!’ I go, ‘Okay, whatever.’ Then I open \u003cem>Rolling Stone\u003c/em> and there he was. \u003ca href=\"https://www.kamasiwashington.com\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>. He didn’t have an agent. We paid him a little bit of money, and then he was charging $50,000 right after that.”\u003c/p>\n\u003cp>“Same with Trombone Shorty, who we found. You know, played at the main stage, and became unaffordable a couple of years after we had him.”\u003c/p>\n\u003cp>Like anybody else, the organizers are partial to headliners. Rawson’s favorite? “I’m really excited that we’re having \u003ca href=\"http://diannereeves.com\" target=\"_blank\" rel=\"noopener\">Dianne Reeves\u003c/a> back. She was named an \u003ca href=\"https://www.arts.gov/honors/jazz/dianne-reeves\" target=\"_blank\" rel=\"noopener\">NEA Jazz Master\u003c/a> last year. She was with us in our second year of the festival. She’s this will be her fourth time appearing with us, and it’s always there’s really a sense of almost homecoming for a lot of our folks that come each year, and she’s just outstanding.”\u003c/p>\n\u003cp>San Jose Jazz doesn’t typically have performance recording rights. The local radio station \u003ca href=\"https://www.kcsm.org\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> broadcasts some of the music live, and they do run a highlight show the following spring. There’s also some live streaming. But generally, you have to be in San Jose to experience Summer Fest in all its multi-faceted, musical glory.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> runs August 9-11, 2019. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/7th-street-big-band\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Tyler, the Creator Trojan-Horsed the Gay Agenda onto Hot 97's Airwaves",
"headTitle": "How Tyler, the Creator Trojan-Horsed the Gay Agenda onto Hot 97’s Airwaves | KQED",
"content": "\u003cp>On last week’s Hot 97 interview with Funkmaster Flex, Tyler, the Creator wore an impish grin as he started his freestyle.\u003c/p>\n\u003cp>“Free Rakim, free Rakim/I might fly to Sweden to free him,” he rapped, referring to the incarcerated A$AP Rocky. Then, to everyone’s surprise, he quickly pivoted from activist to horn dog, fantasizing about switching places with Rocky so he “could f-ck all the sweet men.”\u003c/p>\n\u003cp>While it’s an open industry secret that most radio freestyles aren’t really freestyles, Tyler’s frequent pauses indicated that he really was going off the top of his head, which made the verses that followed seem even more bold. After stopping to think for a few bars, he continued: “Me and Flex/ Looking in the index/Just for some buff net n—-s/For some hot butt sex.”\u003c/p>\n\u003cp>At this point, Funk Flex threw up his arms in surprise. He looked visibly torn between not wanting to cosign Tyler’s very gay bars and not wanting to seem homophobic. He stuttered in semi-protest, “What made you want to go with that verse?”\u003c/p>\n\u003cp>Like a rebellious toddler gleefully testing a parent with weak boundaries, Tyler continued rhyming, dropping references to the men’s hook-up app Grindr and ice cream dates with guys. Sensing Flex’s discomfort, he threw in lines about the two of them hooking up and cuddling while watching \u003cem>Scooby-Doo\u003c/em>. Flex feebly yelled, “Pause!” but Tyler pressed on with a smirk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/gz1DBeX4fGA\u003c/p>\n\u003cp>\u003ca href=\"http://www.mtv.com/news/3132836/tyler-the-creator-funkmaster-flex-freestyle-asap-rocky/\" target=\"_blank\" rel=\"noopener noreferrer\">MTV\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/tyler-the-creator-freestyle-863622/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>\u003c/a> commended the seven-minute-long performance, hailing Tyler for bringing back the lost art of the completely impromptu radio freestyle. But he did something else important by loading his lyrics with gay references within the staunchly masculine, heteronormative space of Hot 97, the country’s most influential rap station.\u003c/p>\n\u003cp>Historically, Hot 97 has done a poor job handling LGBTQ+ issues. In 2013, after beloved host \u003ca href=\"https://www.gq.com/story/mister-cee-calvin-lebrun-hot-97-dj\" target=\"_blank\" rel=\"noopener noreferrer\">Mister Cee\u003c/a> was arrested for soliciting trans sex workers, his boss at the station, Ebro Darden, questioned him about his sexuality in an on-air interview. The conversation was supposed to be sympathetic, but Darden fixated on the binary of gay vs. straight rather than affirming the reality that there are \u003ca href=\"https://www.vice.com/en_us/article/43jzvb/straight-men-recall-the-first-time-they-were-attracted-to-a-trans-woman\" target=\"_blank\" rel=\"noopener noreferrer\">straight-identifying men who are attracted to trans women\u003c/a>.\u003c/p>\n\u003cp>In 2014, Darden questioned rapper \u003ca href=\"https://www.xxlmag.com/news/2014/12/makonnen-hot-97/\" target=\"_blank\" rel=\"noopener noreferrer\">iLoveMakonnen\u003c/a>‘s interest in cosmetology, commenting in a leery tone that his hobby might make fans assume that he’s gay, thereby putting the artist in a position to defend his professed heterosexuality. (Makonnen came out as gay three years later, in 2017.) [aside postid='arts_13854123']\u003c/p>\n\u003cp>Also in 2017, \u003ca href=\"https://www.allure.com/story/janet-mock-response-the-breakfast-club-trans-women\" target=\"_blank\" rel=\"noopener noreferrer\">Charlamagne tha God and the other hosts of Hot 97’s \u003c/a>\u003cem>Breakfast Club \u003c/em>questioned transgender author Janet Mock about her bottom surgery during a conversation about her coming-of-age memoir—a book that had nothing to do with her genitals. A few days later, \u003cem>Breakfast Club\u003c/em> hosts invited comedian Lil Duval on air. He misgendered Mock and joked that he would kill a trans woman if he were to mistakenly sleep with one—an attitude shared by murderers of trans women, who kill them in disproportionate numbers every year.\u003c/p>\n\u003cp>Hot 97 hosts’ subtle cringes at LGBTQ+ people, and their lack of pushback when confronted with overt transphobia, has long sent the message that the station is a place where the queer and trans community is somewhat \u003cem>tolerated\u003c/em> but definitely not welcome. So perhaps the perfect person to trojan horse the gay agenda onto Hot 97’s airwaves is a complicated queer figure like Tyler, the Creator, who started his career as a homophobe and surprised everyone by hinting at same-sex attraction in his lyrics and \u003ca href=\"https://twitter.com/tylerthecreator/status/587459235706900480?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">tweets\u003c/a> starting in 2015.\u003c/p>\n\u003cp>https://youtu.be/HmAsUQEFYGI\u003c/p>\n\u003cp>Although Tyler’s lack of contrition for his past anti-gay music \u003ca href=\"https://www.gq.com/story/tyler-the-creator-flower-boy-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">continues to frustrate LGBTQ+ listeners\u003c/a>, myself included, his masculine image, gruff voice and refusal label himself as gay or bi—even though he sometimes raps about dudes—has kept him relatively insulated from discrimination within the hetero rap world. Perhaps the straight-dude fans he hooked early on with 2011’s aggressively homophobic \u003cem>Goblin\u003c/em> don’t mind that Tyler is queer because his sexuality has only been a footnote, rather than a central theme, in the albums he’s released since becoming open about liking guys.\u003c/p>\n\u003cp>Tyler’s revelation accompanied a drastic change in how he conveyed meaning in his songs. On 2017’s \u003cem>Flowerboy\u003c/em> and this year’s \u003cem>IGOR\u003c/em>, he evolved from a shock-jock first-person narrator into a composer with jazzy, soulful tastes. On \u003cem>IGOR\u003c/em> especially, his rapping became one of many instruments in vibe-y arrangements of fuzzed-out synth melodies, collages of samples and pitch-shifted vocals. Once brash and trollish, he turned into a more sincere lyricist presiding over unfolding stories with many parts, where queerness is a facet but not the main focus. [aside postid='arts_13859566']\u003c/p>\n\u003cp>Without a public apology for his past homophobia, or at least some insight into how he’s evolved, many LGBTQ+ listeners still bristle at Tyler. But a side-effect of his vague, label-less kinda-sorta coming out is his ability to continue to move freely in straight, masculine spaces where unmistakably queer artists like Big Freedia still \u003ca href=\"https://www.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener noreferrer\">aren’t fully embraced\u003c/a>. That chameleon-like passing allows Tyler to hold court with hip-hop gatekeepers like Funk Flex—to whom he rapped about gay sex with a \u003cem>Goblin\u003c/em>-era brashness (minus the hatefulness) that pushed the boundaries of what’s accepted and \u003cem>celebrated\u003c/em> on Hot 97. The freestyle went viral, and the entire 90-minute interview has over 1.1 million views and counting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tyler, the Creator has a long way to go if he truly wants to champion the LGBTQ+ community, and he hasn’t proclaimed himself an activist. Still, on Hot 97 last week, he pulled off an important feat: using his passing privilege to normalize queerness on one of rap’s most important and conservative platforms.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On last week’s Hot 97 interview with Funkmaster Flex, Tyler, the Creator wore an impish grin as he started his freestyle.\u003c/p>\n\u003cp>“Free Rakim, free Rakim/I might fly to Sweden to free him,” he rapped, referring to the incarcerated A$AP Rocky. Then, to everyone’s surprise, he quickly pivoted from activist to horn dog, fantasizing about switching places with Rocky so he “could f-ck all the sweet men.”\u003c/p>\n\u003cp>While it’s an open industry secret that most radio freestyles aren’t really freestyles, Tyler’s frequent pauses indicated that he really was going off the top of his head, which made the verses that followed seem even more bold. After stopping to think for a few bars, he continued: “Me and Flex/ Looking in the index/Just for some buff net n—-s/For some hot butt sex.”\u003c/p>\n\u003cp>At this point, Funk Flex threw up his arms in surprise. He looked visibly torn between not wanting to cosign Tyler’s very gay bars and not wanting to seem homophobic. He stuttered in semi-protest, “What made you want to go with that verse?”\u003c/p>\n\u003cp>Like a rebellious toddler gleefully testing a parent with weak boundaries, Tyler continued rhyming, dropping references to the men’s hook-up app Grindr and ice cream dates with guys. Sensing Flex’s discomfort, he threw in lines about the two of them hooking up and cuddling while watching \u003cem>Scooby-Doo\u003c/em>. Flex feebly yelled, “Pause!” but Tyler pressed on with a smirk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gz1DBeX4fGA'\n title='//www.youtube.com/embed/gz1DBeX4fGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://www.mtv.com/news/3132836/tyler-the-creator-funkmaster-flex-freestyle-asap-rocky/\" target=\"_blank\" rel=\"noopener noreferrer\">MTV\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/tyler-the-creator-freestyle-863622/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>\u003c/a> commended the seven-minute-long performance, hailing Tyler for bringing back the lost art of the completely impromptu radio freestyle. But he did something else important by loading his lyrics with gay references within the staunchly masculine, heteronormative space of Hot 97, the country’s most influential rap station.\u003c/p>\n\u003cp>Historically, Hot 97 has done a poor job handling LGBTQ+ issues. In 2013, after beloved host \u003ca href=\"https://www.gq.com/story/mister-cee-calvin-lebrun-hot-97-dj\" target=\"_blank\" rel=\"noopener noreferrer\">Mister Cee\u003c/a> was arrested for soliciting trans sex workers, his boss at the station, Ebro Darden, questioned him about his sexuality in an on-air interview. The conversation was supposed to be sympathetic, but Darden fixated on the binary of gay vs. straight rather than affirming the reality that there are \u003ca href=\"https://www.vice.com/en_us/article/43jzvb/straight-men-recall-the-first-time-they-were-attracted-to-a-trans-woman\" target=\"_blank\" rel=\"noopener noreferrer\">straight-identifying men who are attracted to trans women\u003c/a>.\u003c/p>\n\u003cp>In 2014, Darden questioned rapper \u003ca href=\"https://www.xxlmag.com/news/2014/12/makonnen-hot-97/\" target=\"_blank\" rel=\"noopener noreferrer\">iLoveMakonnen\u003c/a>‘s interest in cosmetology, commenting in a leery tone that his hobby might make fans assume that he’s gay, thereby putting the artist in a position to defend his professed heterosexuality. (Makonnen came out as gay three years later, in 2017.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also in 2017, \u003ca href=\"https://www.allure.com/story/janet-mock-response-the-breakfast-club-trans-women\" target=\"_blank\" rel=\"noopener noreferrer\">Charlamagne tha God and the other hosts of Hot 97’s \u003c/a>\u003cem>Breakfast Club \u003c/em>questioned transgender author Janet Mock about her bottom surgery during a conversation about her coming-of-age memoir—a book that had nothing to do with her genitals. A few days later, \u003cem>Breakfast Club\u003c/em> hosts invited comedian Lil Duval on air. He misgendered Mock and joked that he would kill a trans woman if he were to mistakenly sleep with one—an attitude shared by murderers of trans women, who kill them in disproportionate numbers every year.\u003c/p>\n\u003cp>Hot 97 hosts’ subtle cringes at LGBTQ+ people, and their lack of pushback when confronted with overt transphobia, has long sent the message that the station is a place where the queer and trans community is somewhat \u003cem>tolerated\u003c/em> but definitely not welcome. So perhaps the perfect person to trojan horse the gay agenda onto Hot 97’s airwaves is a complicated queer figure like Tyler, the Creator, who started his career as a homophobe and surprised everyone by hinting at same-sex attraction in his lyrics and \u003ca href=\"https://twitter.com/tylerthecreator/status/587459235706900480?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">tweets\u003c/a> starting in 2015.\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/HmAsUQEFYGI'\n title='//www.youtube.com/embed/HmAsUQEFYGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although Tyler’s lack of contrition for his past anti-gay music \u003ca href=\"https://www.gq.com/story/tyler-the-creator-flower-boy-redemption\" target=\"_blank\" rel=\"noopener noreferrer\">continues to frustrate LGBTQ+ listeners\u003c/a>, myself included, his masculine image, gruff voice and refusal label himself as gay or bi—even though he sometimes raps about dudes—has kept him relatively insulated from discrimination within the hetero rap world. Perhaps the straight-dude fans he hooked early on with 2011’s aggressively homophobic \u003cem>Goblin\u003c/em> don’t mind that Tyler is queer because his sexuality has only been a footnote, rather than a central theme, in the albums he’s released since becoming open about liking guys.\u003c/p>\n\u003cp>Tyler’s revelation accompanied a drastic change in how he conveyed meaning in his songs. On 2017’s \u003cem>Flowerboy\u003c/em> and this year’s \u003cem>IGOR\u003c/em>, he evolved from a shock-jock first-person narrator into a composer with jazzy, soulful tastes. On \u003cem>IGOR\u003c/em> especially, his rapping became one of many instruments in vibe-y arrangements of fuzzed-out synth melodies, collages of samples and pitch-shifted vocals. Once brash and trollish, he turned into a more sincere lyricist presiding over unfolding stories with many parts, where queerness is a facet but not the main focus. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Without a public apology for his past homophobia, or at least some insight into how he’s evolved, many LGBTQ+ listeners still bristle at Tyler. But a side-effect of his vague, label-less kinda-sorta coming out is his ability to continue to move freely in straight, masculine spaces where unmistakably queer artists like Big Freedia still \u003ca href=\"https://www.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener noreferrer\">aren’t fully embraced\u003c/a>. That chameleon-like passing allows Tyler to hold court with hip-hop gatekeepers like Funk Flex—to whom he rapped about gay sex with a \u003cem>Goblin\u003c/em>-era brashness (minus the hatefulness) that pushed the boundaries of what’s accepted and \u003cem>celebrated\u003c/em> on Hot 97. The freestyle went viral, and the entire 90-minute interview has over 1.1 million views and counting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tyler, the Creator has a long way to go if he truly wants to champion the LGBTQ+ community, and he hasn’t proclaimed himself an activist. Still, on Hot 97 last week, he pulled off an important feat: using his passing privilege to normalize queerness on one of rap’s most important and conservative platforms.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fired Over Too Much Tupac? A Rap-Loving Bureaucrat From Iowa Says He Hopes Not",
"headTitle": "Fired Over Too Much Tupac? A Rap-Loving Bureaucrat From Iowa Says He Hopes Not | KQED",
"content": "\u003cp>Keep ya head up, Jerry Foxhoven.\u003c/p>\n\u003cp>The public servant who led Iowa’s Department of Human Services was forced to resign\u003cstrong> \u003c/strong>in June, just one business day after he sent an email to more than 4,000 agency employees that included an inspirational quote from the rapper Tupac Shakur.\u003c/p>\n\u003cp>He used his love of rap from time to time to “reach out to our staff, tell them that I’m human, have a little levity,” he tells NPR.\u003c/p>\n\u003cp>Foxhoven regularly held “Tupac Fridays” in his office, where the rapper’s music was played — the lawyer said he liked breaking stereotypes about who listens to rap.\u003c/p>\n\u003cp>“I’m a 66-year-old white guy from the Midwest who likes rap music, who likes Tupac!” he says.\u003c/p>\n\u003cfigure id=\"attachment_13861660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg\" alt=\"Jerry Foxhoven, the former head of Iowa's Department of Human Services, who was abruptly removed from that position in June.\" width=\"200\" height=\"242\" class=\"size-full wp-image-13861660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff-160x194.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Foxhoven, the former head of Iowa’s Department of Human Services, who was abruptly removed from that position in June. \u003ccite>(Courtesy of Jerry Foxhoven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Foxhoven is a Tupac superfan. The civil servant is utterly dedicated to the slain rapper, celebrating his birthday with Tupac-themed baked goods; marking Tupac milestones (“I might seem a little down because today is the 22nd anniversary of 2Pac’s death,” he wrote once to a staff member); and assigning Tupac as mandatory reading for his ethics class at Drake University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Foxhoven’s tenure at the Department of Human Services ended without warning — and without a chance for an orderly transition. After his email citing the rapper, Foxhoven was asked to resign. He says that he was not even granted a meeting with Iowa Gov. Kim Reynolds.\u003c/p>\n\u003cp>Instead, the governor’s chief of staff confiscated his cell phone and ID card on the spot and ordered him not to go back to his office. They did not cite a reason, and Foxhoven was not made aware of why he was let go after two years on the job.\u003c/p>\n\u003cp>Foxhoven was aware that at least one individual was not a fan of his Tupac quotations. In an email, one of his staff members alluded to the existence of a disgruntled employee, who then reported his Tupac references to state legislators. These emails indicate that action may have been taken due to his Tupac-related messages.\u003c/p>\n\u003cp>“I am going to hang in there on him — despite all the naysayers,” he wrote in one email, after a staff member said that there were “haters” who didn’t appreciate his Tupac quotes.\u003c/p>\n\u003cp>Although he knew one employee had complained about his frequent references to Tupac, Foxhoven says he hopes they were not the reason he was forced to resign.\u003c/p>\n\u003cp>He does wonder, however.\u003c/p>\n\u003cp>Foxhoven points out that Barry Manilow’s birthday is one day after Tupac’s, and wonders whether he have been dismissed if he had cited Manilow instead.\u003c/p>\n\u003cfigure id=\"attachment_13861661\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png\" alt=\"Email sent by Jerry Foxhoven to Iowa Department of Human Services staff.\" width=\"644\" height=\"721\" class=\"size-full wp-image-13861661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5-160x179.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Email sent by Jerry Foxhoven to Iowa Department of Human Services staff. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I always try to assume the best of everybody, and I can’t imagine that [the governor] would base her decision on the Tupac incident,” he says. “If this is the reason, I’m really disappointed.”\u003c/p>\n\u003cp>The governor’s office did not respond to a request for comment from NPR. But according to the Associated Press, the governor’s office would not confirm or deny that Foxhoven’s rap references were part of the reason for Foxhoven’s dismissal.\u003c/p>\n\u003cp>“She wanted to go in a new direction,” the governor’s spokesman previously said in a statement, according to \u003ca href=\"https://www.iowapublicradio.org/post/iowa-governor-pushes-human-services-director-resign\">Iowa Public Radio\u003c/a>. The spokesman provided no specifics.\u003c/p>\n\u003cp>NPR made a public records request in order to obtain emails involving Foxhoven and his references to Tupac. Foxhoven’s Tupac emails were first \u003ca href=\"https://www.apnews.com/c7ae931fae0f4bc1a0fe3386e4b5bc38\">reported by the AP\u003c/a>.\u003c/p>\n\u003cp>The email which preceded his ouster was a positive one, in which he recognized Father’s Day, Tupac’s Birthday and his own work anniversary. “Pay no mind to those who talk behind your back,” he wrote, citing Tupac. “It simply means that you are 2 steps ahead.”\u003c/p>\n\u003cp>In that same email, he praised his staff, writing that it was “absolute honor to lead such a dedicated and committed group of people.” In response, more than a dozen employees at the agency wrote back to praise him for the positive message.\u003c/p>\n\u003cp>“You are such a breath of fresh air, Jerry!” wrote one staff member in response, according to emails obtained by NPR.\u003c/p>\n\u003cp>The hundreds of pages of emails reviewed by NPR show that by all accounts Foxhoven was widely admired by his staff and regularly took time to mentor subordinates. In one email he dispensed career advice, noting that he was inspired at the agency by the well-known Tupac song “\u003ca href=\"https://open.spotify.com/track/3fLJfEJuyfZVYJ01BB9vnV\">Changes\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13861662\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png\" alt=\"Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven's birthday\" width=\"200\" height=\"170\" class=\"size-full wp-image-13861662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f-160x136.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven’s birthday. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he regularly cited Tupac in staff and agency-wide emails — including a Valentine’s Day email in which he marveled, “isn’t it wonderful that we have a day to celebrate love?” This observation was followed by a quote from Tupac’s “Dear Mama.” The 66 year old’s inbox even included a meme that referenced Tupac’s famous collaboration with Dr. Dre, “California Love.”\u003c/p>\n\u003cp>Ultimately, Foxhoven tells NPR he’s glad that his emails about his favorite musical artist have now made national news, because it allows for a discussion about stereotypes and music. He said he was especially disturbed by a \u003ca href=\"https://www.nytimes.com/2019/07/09/us/elijah-al-amin-michael-paul-adams.html\">recent news story\u003c/a> which reported that a 17-year-old boy in Arizona was fatally stabbed by a man who said the victim’s rap music made him feel “unsafe.”\u003c/p>\n\u003cp>“It’s important for us to break down those stereotypes: if you listen to rap music, you’re a criminal or dangerous. It’s not true at all,” he says, adding that he hoped his situation could lead to “having open discussions about race and what we have in common, instead of what separates us.”\u003c/p>\n\u003cp>He first got into Tupac in the early ’90s when the rapper was still alive — “we’re going to have to get into this East Coast, West Coast thing,” he says apologetically, as he explained his preference for the Californian musician. “Part of the reason I like Tupac [is that] it’s good music — it’s not just rap with a bass in the background. It’s fun to listen to, and also I liked over his career, you could see him transform.”\u003c/p>\n\u003cp>Foxhoven turns 67 next week, and is still figuring out what to do next. He wouldn’t mind seeing the \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/17/150820261/how-that-tupac-hologram-at-coachella-worked\">Tupac hologram\u003c/a> in person, he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>One thing is for sure: “I will be listening to some Tupac on my birthday. That’s totally true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fired+Over+Too+Much+Tupac%3F+A+Rap-Loving+Bureaucrat+From+Iowa+Says+He+Hopes+Not&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Keep ya head up, Jerry Foxhoven.\u003c/p>\n\u003cp>The public servant who led Iowa’s Department of Human Services was forced to resign\u003cstrong> \u003c/strong>in June, just one business day after he sent an email to more than 4,000 agency employees that included an inspirational quote from the rapper Tupac Shakur.\u003c/p>\n\u003cp>He used his love of rap from time to time to “reach out to our staff, tell them that I’m human, have a little levity,” he tells NPR.\u003c/p>\n\u003cp>Foxhoven regularly held “Tupac Fridays” in his office, where the rapper’s music was played — the lawyer said he liked breaking stereotypes about who listens to rap.\u003c/p>\n\u003cp>“I’m a 66-year-old white guy from the Midwest who likes rap music, who likes Tupac!” he says.\u003c/p>\n\u003cfigure id=\"attachment_13861660\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg\" alt=\"Jerry Foxhoven, the former head of Iowa's Department of Human Services, who was abruptly removed from that position in June.\" width=\"200\" height=\"242\" class=\"size-full wp-image-13861660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/jerryfoxhoven_custom-865d5d1b3091e90dee7f5bf6be7fa309a7a278ff-160x194.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Foxhoven, the former head of Iowa’s Department of Human Services, who was abruptly removed from that position in June. \u003ccite>(Courtesy of Jerry Foxhoven)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Foxhoven is a Tupac superfan. The civil servant is utterly dedicated to the slain rapper, celebrating his birthday with Tupac-themed baked goods; marking Tupac milestones (“I might seem a little down because today is the 22nd anniversary of 2Pac’s death,” he wrote once to a staff member); and assigning Tupac as mandatory reading for his ethics class at Drake University.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Foxhoven’s tenure at the Department of Human Services ended without warning — and without a chance for an orderly transition. After his email citing the rapper, Foxhoven was asked to resign. He says that he was not even granted a meeting with Iowa Gov. Kim Reynolds.\u003c/p>\n\u003cp>Instead, the governor’s chief of staff confiscated his cell phone and ID card on the spot and ordered him not to go back to his office. They did not cite a reason, and Foxhoven was not made aware of why he was let go after two years on the job.\u003c/p>\n\u003cp>Foxhoven was aware that at least one individual was not a fan of his Tupac quotations. In an email, one of his staff members alluded to the existence of a disgruntled employee, who then reported his Tupac references to state legislators. These emails indicate that action may have been taken due to his Tupac-related messages.\u003c/p>\n\u003cp>“I am going to hang in there on him — despite all the naysayers,” he wrote in one email, after a staff member said that there were “haters” who didn’t appreciate his Tupac quotes.\u003c/p>\n\u003cp>Although he knew one employee had complained about his frequent references to Tupac, Foxhoven says he hopes they were not the reason he was forced to resign.\u003c/p>\n\u003cp>He does wonder, however.\u003c/p>\n\u003cp>Foxhoven points out that Barry Manilow’s birthday is one day after Tupac’s, and wonders whether he have been dismissed if he had cited Manilow instead.\u003c/p>\n\u003cfigure id=\"attachment_13861661\" class=\"wp-caption aligncenter\" style=\"max-width: 644px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png\" alt=\"Email sent by Jerry Foxhoven to Iowa Department of Human Services staff.\" width=\"644\" height=\"721\" class=\"size-full wp-image-13861661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5.png 644w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/d_ruukex4aawe7d_custom-ebfd88ed1739e6ac04c9065f636a6bbc7539caa5-160x179.png 160w\" sizes=\"(max-width: 644px) 100vw, 644px\">\u003cfigcaption class=\"wp-caption-text\">Email sent by Jerry Foxhoven to Iowa Department of Human Services staff. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I always try to assume the best of everybody, and I can’t imagine that [the governor] would base her decision on the Tupac incident,” he says. “If this is the reason, I’m really disappointed.”\u003c/p>\n\u003cp>The governor’s office did not respond to a request for comment from NPR. But according to the Associated Press, the governor’s office would not confirm or deny that Foxhoven’s rap references were part of the reason for Foxhoven’s dismissal.\u003c/p>\n\u003cp>“She wanted to go in a new direction,” the governor’s spokesman previously said in a statement, according to \u003ca href=\"https://www.iowapublicradio.org/post/iowa-governor-pushes-human-services-director-resign\">Iowa Public Radio\u003c/a>. The spokesman provided no specifics.\u003c/p>\n\u003cp>NPR made a public records request in order to obtain emails involving Foxhoven and his references to Tupac. Foxhoven’s Tupac emails were first \u003ca href=\"https://www.apnews.com/c7ae931fae0f4bc1a0fe3386e4b5bc38\">reported by the AP\u003c/a>.\u003c/p>\n\u003cp>The email which preceded his ouster was a positive one, in which he recognized Father’s Day, Tupac’s Birthday and his own work anniversary. “Pay no mind to those who talk behind your back,” he wrote, citing Tupac. “It simply means that you are 2 steps ahead.”\u003c/p>\n\u003cp>In that same email, he praised his staff, writing that it was “absolute honor to lead such a dedicated and committed group of people.” In response, more than a dozen employees at the agency wrote back to praise him for the positive message.\u003c/p>\n\u003cp>“You are such a breath of fresh air, Jerry!” wrote one staff member in response, according to emails obtained by NPR.\u003c/p>\n\u003cp>The hundreds of pages of emails reviewed by NPR show that by all accounts Foxhoven was widely admired by his staff and regularly took time to mentor subordinates. In one email he dispensed career advice, noting that he was inspired at the agency by the well-known Tupac song “\u003ca href=\"https://open.spotify.com/track/3fLJfEJuyfZVYJ01BB9vnV\">Changes\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13861662\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png\" alt=\"Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven's birthday\" width=\"200\" height=\"170\" class=\"size-full wp-image-13861662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/photo3_custom-17b4695752066fafd812d6676bccf9ec524def5f-160x136.png 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Tupac-themed baked goods, brought to the office by staff to celebrate Mr. Foxhoven’s birthday. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, he regularly cited Tupac in staff and agency-wide emails — including a Valentine’s Day email in which he marveled, “isn’t it wonderful that we have a day to celebrate love?” This observation was followed by a quote from Tupac’s “Dear Mama.” The 66 year old’s inbox even included a meme that referenced Tupac’s famous collaboration with Dr. Dre, “California Love.”\u003c/p>\n\u003cp>Ultimately, Foxhoven tells NPR he’s glad that his emails about his favorite musical artist have now made national news, because it allows for a discussion about stereotypes and music. He said he was especially disturbed by a \u003ca href=\"https://www.nytimes.com/2019/07/09/us/elijah-al-amin-michael-paul-adams.html\">recent news story\u003c/a> which reported that a 17-year-old boy in Arizona was fatally stabbed by a man who said the victim’s rap music made him feel “unsafe.”\u003c/p>\n\u003cp>“It’s important for us to break down those stereotypes: if you listen to rap music, you’re a criminal or dangerous. It’s not true at all,” he says, adding that he hoped his situation could lead to “having open discussions about race and what we have in common, instead of what separates us.”\u003c/p>\n\u003cp>He first got into Tupac in the early ’90s when the rapper was still alive — “we’re going to have to get into this East Coast, West Coast thing,” he says apologetically, as he explained his preference for the Californian musician. “Part of the reason I like Tupac [is that] it’s good music — it’s not just rap with a bass in the background. It’s fun to listen to, and also I liked over his career, you could see him transform.”\u003c/p>\n\u003cp>Foxhoven turns 67 next week, and is still figuring out what to do next. He wouldn’t mind seeing the \u003ca href=\"https://www.npr.org/sections/therecord/2012/04/17/150820261/how-that-tupac-hologram-at-coachella-worked\">Tupac hologram\u003c/a> in person, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One thing is for sure: “I will be listening to some Tupac on my birthday. That’s totally true.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fired+Over+Too+Much+Tupac%3F+A+Rap-Loving+Bureaucrat+From+Iowa+Says+He+Hopes+Not&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>WASHINGTON (AP) — The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer \u003ca href=\"https://www.kqed.org/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and actor \u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" target=\"_blank\" rel=\"noopener\">Danny Glover\u003c/a> set to testify before a House panel.\u003c/p>\n\u003cp>The House Judiciary Subcommittee on the Constitution, Civil Rights and Civil Liberties is scheduled to hold the hearing next Wednesday, its stated purpose “to examine, through open and constructive discourse, the legacy of the Trans-Atlantic Slave Trade, its continuing impact on the community and the path to restorative justice.” The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.\u003c/p>\n\u003cp>[aside postID='arts_13858829' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LastBlackManinSF.jpg' target='_blank']\u003c/p>\n\u003cp>Former Democratic Rep. John Conyers of Michigan, the longtime sponsor of House Resolution 40, first proposed the measure calling for a study of reparations in 1989. Conyers reintroduced the bill every session until his resignation in 2017.\u003c/p>\n\u003cp>Texas Democratic Rep. Sheila Jackson Lee, the resolution’s new sponsor, introduced it earlier this year and pushed for next week’s hearing. House Speaker Nancy Pelosi said in February that she supports a reparations study, a topic that hasn’t been the subject of a House hearing since 2007.\u003c/p>\n\u003cp>Reparations had been a fringe issue and occasional punchline until Coates’ 2014 essay in The Atlantic, “The Case for Reparations,” thrust the topic back into the national discourse. Danny Glover, who hails from San Francisco, has never swayed from activism. Fans may have seen him starring most recently in \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a> as Grandpa Allen in Jimmy Fails and Joe Talbott’s cinematic portrait of a young black man on his search for home in his rapidly-gentrifying home city of San Francisco. Off-screen, Glover has served as a Goodwill Ambassador for the United Nations Development Program and spoken at rallies for economic justice and global human rights. He is also a UNICEF ambassador.\u003c/p>\n\u003cp>In an interview with Coates as he prepared to leave office, President Barack Obama questioned the implementation of reparations but not the concept. And in a conversation, Coates had earlier this year with Rep. Alexandria Ocasio-Cortez, D-N.Y., the popular progressive endorsed reparations.\u003c/p>\n\u003cp>The reparations debate became part of the 2020 presidential race early, as several Democratic presidential primary candidates signaled their support for compensating the descendants of slaves, though not in the traditional sense of direct payouts to black Americans. Most have been vague on more specific ideas, but they have instead offered policies addressing economic inequality that could disproportionately benefit black people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>WASHINGTON (AP) — The topic of reparations for slavery is headed to Capitol Hill for its first hearing in more than a decade with writer \u003ca href=\"https://www.kqed.org/arts/13839454/brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall\" target=\"_blank\" rel=\"noopener\">Ta-Nehisi Coates\u003c/a> and actor \u003ca href=\"https://www.kqed.org/arts/13859133/the-last-black-man-in-san-francisco-review\" target=\"_blank\" rel=\"noopener\">Danny Glover\u003c/a> set to testify before a House panel.\u003c/p>\n\u003cp>The House Judiciary Subcommittee on the Constitution, Civil Rights and Civil Liberties is scheduled to hold the hearing next Wednesday, its stated purpose “to examine, through open and constructive discourse, the legacy of the Trans-Atlantic Slave Trade, its continuing impact on the community and the path to restorative justice.” The date of the hearing, June 19, coincides with Juneteenth, a cultural holiday commemorating the emancipation of enslaved black people in America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Former Democratic Rep. John Conyers of Michigan, the longtime sponsor of House Resolution 40, first proposed the measure calling for a study of reparations in 1989. Conyers reintroduced the bill every session until his resignation in 2017.\u003c/p>\n\u003cp>Texas Democratic Rep. Sheila Jackson Lee, the resolution’s new sponsor, introduced it earlier this year and pushed for next week’s hearing. House Speaker Nancy Pelosi said in February that she supports a reparations study, a topic that hasn’t been the subject of a House hearing since 2007.\u003c/p>\n\u003cp>Reparations had been a fringe issue and occasional punchline until Coates’ 2014 essay in The Atlantic, “The Case for Reparations,” thrust the topic back into the national discourse. Danny Glover, who hails from San Francisco, has never swayed from activism. Fans may have seen him starring most recently in \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a> as Grandpa Allen in Jimmy Fails and Joe Talbott’s cinematic portrait of a young black man on his search for home in his rapidly-gentrifying home city of San Francisco. Off-screen, Glover has served as a Goodwill Ambassador for the United Nations Development Program and spoken at rallies for economic justice and global human rights. He is also a UNICEF ambassador.\u003c/p>\n\u003cp>In an interview with Coates as he prepared to leave office, President Barack Obama questioned the implementation of reparations but not the concept. And in a conversation, Coates had earlier this year with Rep. Alexandria Ocasio-Cortez, D-N.Y., the popular progressive endorsed reparations.\u003c/p>\n\u003cp>The reparations debate became part of the 2020 presidential race early, as several Democratic presidential primary candidates signaled their support for compensating the descendants of slaves, though not in the traditional sense of direct payouts to black Americans. Most have been vague on more specific ideas, but they have instead offered policies addressing economic inequality that could disproportionately benefit black people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right",
"headTitle": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right | KQED",
"content": "\u003cp>Joe Talbot and Jimmie Fails’ ambitious, soulful and clear-eyed debut feature, \u003cem>The Last Black Man in San Francisco\u003c/em>, offers new evidence of a longstanding truth: Nobody sees this city, and the determined nonconformists who make it their home for a while or forever, like the independent filmmakers who live here.\u003c/p>\n\u003cp>Sure, \u003cem>Vertigo\u003c/em> and \u003cem>Mrs. Doubtfire\u003c/em> will always epitomize San Francisco for the masses. But low-budget indies like \u003cem>Heat and Sunlight\u003c/em> (1987), \u003cem>Steal America\u003c/em> (1992), \u003cem>Dream with the Fishes\u003c/em> (1997), \u003cem>North Beach\u003c/em> (2000), \u003cem>Haiku Tunnel\u003c/em> (2001), \u003cem>Medicine for Melancholy\u003c/em> (2008) and \u003cem>Centaur\u003c/em> (2011) captured the zeitgeist of the moment by etching outcasts and artists (not to mention blocks and neighborhoods) more familiar to residents than tourists.\u003c/p>\n\u003cp>That should be a sufficient argument for \u003cem>The Last Black Man in San Francisco\u003c/em> (opening June 7) to be essential viewing for locals. Even better, it’s strewn with ideas without being show-offy, it’s earnest yet unsentimental, and penetrating without being moralistic. As a bonus, Talbot, Fails and their cohorts deftly integrate into the subtly multilayered and multigenerational plot subjects like Jefferson Airplane and Giants fandom, Hunters Point redevelopment and Chinatown fish stands, former Mabuhay Gardens punks and ’00s indie-film wannabe hipsters, interactions on Muni and the solitude of the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13859146\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg\" alt=\"Danny Glover and Jonathan Majors in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover and Jonathan Majors in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot, which draws on Fails’ life story, centers on a young black guy (played by Fails) with no permanent residence who’s fixated on the great Fillmore house where his family lived when Jimmy was a boy and which, his father endlessly recounted, his grandfather built. At the start of the story, Jimmy is crashing with best friend Mont (a would-be playwright, played by Jonathan Majors) and Mont’s blind grandfather (Danny Glover, delivering sardonic line readings and representing San Francisco’s once-thriving black middle class).\u003c/p>\n\u003cp>“Every draft had a lot going on from the beginning,” Talbot relates in an interview last week. “Lots of characters and locations that are supposed to evoke feelings of a certain San Francisco. The friendship. Jimmy being in both Hunters Point and the house in the Fillmore, and the different relationships he has in each area. If you lose the friendship, you lose the grounding force. If you lose the elements of the city, you lose what’s so special about San Francisco and why it’s worth fighting for. If you lose the house, you lose the love story. All those things are integral to the film and to Jimmy’s character.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most obvious way to watch \u003cem>The Last Black Man in San Francisco\u003c/em> is as a parable of gentrification, and a lament for the people pushed out of their homes and ’hoods by economic pressures. That theme, along with the variety of sympathetic representations of black identity, give the movie a national relevance that allows it to travel (and succeed) far beyond its hometown.\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In cinema, you often see black men portrayed in a certain way,” Fails says. “Athlete, drug dealer, slave—if it’s a period piece. In a modern way, we just wanted to explore all the different types of black people there are—black men, especially, the different nuances and things that set them apart.”\u003c/p>\n\u003cp>A few minutes later, in another room of the Nob Hill hotel where the press day is being held, Rob Morgan (\u003cem>Mudbound\u003c/em>) reframes an overly polite question on the same subject. “How refreshing was it to see some real black men on screen, finally!” he declares with a loud laugh. Morgan plays Jimmy’s father as a suspicious, unbending and unexpectedly elegant man who’s nonetheless past his salad days. But he’s not a villain, which, in another movie, he could be. Or his character might be absent altogether.\u003c/p>\n\u003cp>“It’s been documented how networks and production companies strategically take out the black male presence of the father in movies and TV shows,” Morgan asserts, “and that reflects the society at the same time. Art reflects life; life reflects art. So for 50 years you just keep seeing movies with no black fathers, or he’s a deadbeat or behind on child support, he’s getting killed or he’s in prison. Something that’s just tired, because we see it all the time, and I think that informs society on how to respond to black men in a lot of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13859145\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg\" alt=\"Rob Morgan and Jimmie Fails in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rob Morgan and Jimmie Fails in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tichina Arnold, a fellow New Yorker who plays Jimmie’s sharp, no-nonsense Aunt Wanda, nods and adds, “I hadn’t had a lot of films cross my path to audition for that were good. But this script resonated with me because it was poetic. And I’m one of the only female characters that the main character does love; he has no love interest. His love interest is that home.”\u003c/p>\n\u003cp>In addition to the script, Arnold was impelled to do the film because of the dynamic between Talbot and Fails. The Sundance jury picked up on it in the finished film, awarding a prize for creative collaboration along with best director.\u003c/p>\n\u003cp>Talbot notes, “I found a friend in Jimmy when we met [many years ago], and a creative collaborator, and someone who stars in pretty much everything I’ve ever made as a filmmaker.”\u003c/p>\n\u003cp>When they finally got into production, Fails discovered that playing himself—or a version of himself—was the strangest feeling. “It’s weird. Sometimes you don’t feel like you’re getting in the character, per se, you’re just getting into a space that you need to be in for this scene.”\u003c/p>\n\u003cfigure id=\"attachment_13859143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg\" alt=\"Tichina Arnold in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tichina Arnold in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His first and foremost passion was music, Fails says, and he admits he was transformed by the process of making \u003cem>The Last Black Man in San Francisco\u003c/em>. “I never saw acting as storytelling before, for some reason,” he confides. “I saw it as art, but I didn’t see it as storytelling. Now I see it as deeper than that, and I love to do it and I’m sticking with that now.”\u003c/p>\n\u003cp>For his part, Talbot says, “I don’t know that every actor has that ability to both perform and be analytical. That’s an incredible thing to be able to do.”\u003c/p>\n\u003cp>By the way, there’s another key Bay Area independent feature that is explicitly referenced in \u003cem>The Last Black Man in San Francisco\u003c/em>, and that’s Terry Zwigoff’s wonderful \u003cem>Ghost World\u003c/em> (2001). (I disqualified it from my list at the top because it was filmed in Southern California.)\u003c/p>\n\u003cp>Talbot saw Zwigoff’s adaptation of Daniel Clowes’ graphic novel in high school, and grew up not far from the director on Potrero Hill. Fans of \u003cem>Ghost World\u003c/em>—and \u003cem>The Last Black Man in San Francisco\u003c/em>—will appreciate the joke that Talbot and Thora Birch shared when he was casting her: “It’s kind of as if Enid moved to San Francisco and got a job she hated in tech and never got off the bus at the end of the movie.”\u003c/p>\n\u003cfigure id=\"attachment_13859144\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg\" alt=\"Jimmie Fails and Joe Talbot in San Francisco.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and Joe Talbot in San Francisco. \u003ccite>(Photo by Adam Newport-Berra; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fails and Talbot are too reserved, and modest, to trumpet their achievement the way that filmmakers typically are happy to do. Talbot’s summation of the process that produced \u003ci>The Last Black Man in San Francisco\u003c/i> is revealing, and characteristic.\u003c/p>\n\u003cp>“I was involved in every facet of this thing, and people that know me say, ‘This movie feels a lot like you, Joe, in some ways.’ It also is true that a lot of the best moments came from conversations and other people’s brilliant ideas. And that collaborative nature we had on this film between Jimmy and I, and then our larger group of collaborators, I think is unusual. I think most movies aren’t created that way. In seeing how people are responding to it, and the detailed, meticulous nature of the movie, that’s because we have so much brainpower on it that extends beyond what you would usually have on a movie like this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘The Last Black Man in San Francisco’ opens in theaters nationwide on June 7. \u003ca href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Nobody sees this city—and the determined nonconformists who make it their home—like the independent filmmakers who live here.",
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"title": "‘Last Black Man’ Joins a Short List of Films that Gets San Francisco Right | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joe Talbot and Jimmie Fails’ ambitious, soulful and clear-eyed debut feature, \u003cem>The Last Black Man in San Francisco\u003c/em>, offers new evidence of a longstanding truth: Nobody sees this city, and the determined nonconformists who make it their home for a while or forever, like the independent filmmakers who live here.\u003c/p>\n\u003cp>Sure, \u003cem>Vertigo\u003c/em> and \u003cem>Mrs. Doubtfire\u003c/em> will always epitomize San Francisco for the masses. But low-budget indies like \u003cem>Heat and Sunlight\u003c/em> (1987), \u003cem>Steal America\u003c/em> (1992), \u003cem>Dream with the Fishes\u003c/em> (1997), \u003cem>North Beach\u003c/em> (2000), \u003cem>Haiku Tunnel\u003c/em> (2001), \u003cem>Medicine for Melancholy\u003c/em> (2008) and \u003cem>Centaur\u003c/em> (2011) captured the zeitgeist of the moment by etching outcasts and artists (not to mention blocks and neighborhoods) more familiar to residents than tourists.\u003c/p>\n\u003cp>That should be a sufficient argument for \u003cem>The Last Black Man in San Francisco\u003c/em> (opening June 7) to be essential viewing for locals. Even better, it’s strewn with ideas without being show-offy, it’s earnest yet unsentimental, and penetrating without being moralistic. As a bonus, Talbot, Fails and their cohorts deftly integrate into the subtly multilayered and multigenerational plot subjects like Jefferson Airplane and Giants fandom, Hunters Point redevelopment and Chinatown fish stands, former Mabuhay Gardens punks and ’00s indie-film wannabe hipsters, interactions on Muni and the solitude of the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13859146\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg\" alt=\"Danny Glover and Jonathan Majors in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_59_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover and Jonathan Majors in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plot, which draws on Fails’ life story, centers on a young black guy (played by Fails) with no permanent residence who’s fixated on the great Fillmore house where his family lived when Jimmy was a boy and which, his father endlessly recounted, his grandfather built. At the start of the story, Jimmy is crashing with best friend Mont (a would-be playwright, played by Jonathan Majors) and Mont’s blind grandfather (Danny Glover, delivering sardonic line readings and representing San Francisco’s once-thriving black middle class).\u003c/p>\n\u003cp>“Every draft had a lot going on from the beginning,” Talbot relates in an interview last week. “Lots of characters and locations that are supposed to evoke feelings of a certain San Francisco. The friendship. Jimmy being in both Hunters Point and the house in the Fillmore, and the different relationships he has in each area. If you lose the friendship, you lose the grounding force. If you lose the elements of the city, you lose what’s so special about San Francisco and why it’s worth fighting for. If you lose the house, you lose the love story. All those things are integral to the film and to Jimmy’s character.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most obvious way to watch \u003cem>The Last Black Man in San Francisco\u003c/em> is as a parable of gentrification, and a lament for the people pushed out of their homes and ’hoods by economic pressures. That theme, along with the variety of sympathetic representations of black identity, give the movie a national relevance that allows it to travel (and succeed) far beyond its hometown.\u003c/p>\n\u003cfigure id=\"attachment_13859142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859142\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg\" alt=\"Jimmie Fails and the house in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_16_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and the house in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In cinema, you often see black men portrayed in a certain way,” Fails says. “Athlete, drug dealer, slave—if it’s a period piece. In a modern way, we just wanted to explore all the different types of black people there are—black men, especially, the different nuances and things that set them apart.”\u003c/p>\n\u003cp>A few minutes later, in another room of the Nob Hill hotel where the press day is being held, Rob Morgan (\u003cem>Mudbound\u003c/em>) reframes an overly polite question on the same subject. “How refreshing was it to see some real black men on screen, finally!” he declares with a loud laugh. Morgan plays Jimmy’s father as a suspicious, unbending and unexpectedly elegant man who’s nonetheless past his salad days. But he’s not a villain, which, in another movie, he could be. Or his character might be absent altogether.\u003c/p>\n\u003cp>“It’s been documented how networks and production companies strategically take out the black male presence of the father in movies and TV shows,” Morgan asserts, “and that reflects the society at the same time. Art reflects life; life reflects art. So for 50 years you just keep seeing movies with no black fathers, or he’s a deadbeat or behind on child support, he’s getting killed or he’s in prison. Something that’s just tired, because we see it all the time, and I think that informs society on how to respond to black men in a lot of ways.”\u003c/p>\n\u003cfigure id=\"attachment_13859145\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859145\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg\" alt=\"Rob Morgan and Jimmie Fails in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_49_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rob Morgan and Jimmie Fails in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tichina Arnold, a fellow New Yorker who plays Jimmie’s sharp, no-nonsense Aunt Wanda, nods and adds, “I hadn’t had a lot of films cross my path to audition for that were good. But this script resonated with me because it was poetic. And I’m one of the only female characters that the main character does love; he has no love interest. His love interest is that home.”\u003c/p>\n\u003cp>In addition to the script, Arnold was impelled to do the film because of the dynamic between Talbot and Fails. The Sundance jury picked up on it in the finished film, awarding a prize for creative collaboration along with best director.\u003c/p>\n\u003cp>Talbot notes, “I found a friend in Jimmy when we met [many years ago], and a creative collaborator, and someone who stars in pretty much everything I’ve ever made as a filmmaker.”\u003c/p>\n\u003cp>When they finally got into production, Fails discovered that playing himself—or a version of himself—was the strangest feeling. “It’s weird. Sometimes you don’t feel like you’re getting in the character, per se, you’re just getting into a space that you need to be in for this scene.”\u003c/p>\n\u003cfigure id=\"attachment_13859143\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg\" alt=\"Tichina Arnold in 'The Last Black Man in San Francisco,' 2019.\" width=\"1200\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_23_1200-1020x615.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Tichina Arnold in ‘The Last Black Man in San Francisco,’ 2019. \u003ccite>(Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His first and foremost passion was music, Fails says, and he admits he was transformed by the process of making \u003cem>The Last Black Man in San Francisco\u003c/em>. “I never saw acting as storytelling before, for some reason,” he confides. “I saw it as art, but I didn’t see it as storytelling. Now I see it as deeper than that, and I love to do it and I’m sticking with that now.”\u003c/p>\n\u003cp>For his part, Talbot says, “I don’t know that every actor has that ability to both perform and be analytical. That’s an incredible thing to be able to do.”\u003c/p>\n\u003cp>By the way, there’s another key Bay Area independent feature that is explicitly referenced in \u003cem>The Last Black Man in San Francisco\u003c/em>, and that’s Terry Zwigoff’s wonderful \u003cem>Ghost World\u003c/em> (2001). (I disqualified it from my list at the top because it was filmed in Southern California.)\u003c/p>\n\u003cp>Talbot saw Zwigoff’s adaptation of Daniel Clowes’ graphic novel in high school, and grew up not far from the director on Potrero Hill. Fans of \u003cem>Ghost World\u003c/em>—and \u003cem>The Last Black Man in San Francisco\u003c/em>—will appreciate the joke that Talbot and Thora Birch shared when he was casting her: “It’s kind of as if Enid moved to San Francisco and got a job she hated in tech and never got off the bus at the end of the movie.”\u003c/p>\n\u003cfigure id=\"attachment_13859144\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13859144\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg\" alt=\"Jimmie Fails and Joe Talbot in San Francisco.\" width=\"1200\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/LBMISF_027_1200-1020x677.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jimmie Fails and Joe Talbot in San Francisco. \u003ccite>(Photo by Adam Newport-Berra; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fails and Talbot are too reserved, and modest, to trumpet their achievement the way that filmmakers typically are happy to do. Talbot’s summation of the process that produced \u003ci>The Last Black Man in San Francisco\u003c/i> is revealing, and characteristic.\u003c/p>\n\u003cp>“I was involved in every facet of this thing, and people that know me say, ‘This movie feels a lot like you, Joe, in some ways.’ It also is true that a lot of the best moments came from conversations and other people’s brilliant ideas. And that collaborative nature we had on this film between Jimmy and I, and then our larger group of collaborators, I think is unusual. I think most movies aren’t created that way. In seeing how people are responding to it, and the detailed, meticulous nature of the movie, that’s because we have so much brainpower on it that extends beyond what you would usually have on a movie like this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Last Black Man in San Francisco’ opens in theaters nationwide on June 7. \u003ca href=\"https://a24films.com/films/the-last-black-man-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ight, so boom: Last Thursday I’m on stage at the Grand Lake Theatre, hosting a panel discussion after a screening of \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I’m underdressed: a black T-shirt, jean jacket and a Warriors hat. I mean, the event was happening at the same time as the first game of the NBA finals, so I’m rocking the hat for a reason. But I’m missing the game because—well, I told you: I’m hosting a panel. And it’s not just any panel, but one that pushed me to look at my personal experiences inside of those same theater walls in a way that made me realize: the doorways of the Grand Lake Theatre could tell the story of my maturation into manhood.\u003c/p>\n\u003cp>But we weren’t there to talk about me, we were there to talk about the film. And I had some heavyweights on the set.\u003c/p>\n\u003cp>To my left was director Joe Talbot. Next to him sat lead actor Jimmie Fails IV and legendary actor, activist and Bay Area native Danny Glover. And on the side of Glover was actor Rob Morgan, who you might know from his role in \u003cem>Stranger Things\u003c/em> or \u003cem>Mudbound\u003c/em>. And at the end of the stage was film and TV star Tichina Arnold.\u003c/p>\n\u003cfigure id=\"attachment_13858841\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg\" alt=\"The cast of 'The Last Black Man in San Francisco.'\" width=\"750\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336-160x119.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Last Black Man in San Francisco.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the audience sat congresswoman Barbara Lee, former Oakland council member Desley Brooks and former Berkeley mayor Gus Newport. Actor Delroy Lindo was there, as well as rapper and \u003cem>Sorry To Bother You\u003c/em> director Boots Riley and his father, the labor attorney Walter Riley. In fact, I was sitting right in front of the older Riley during the screening.\u003c/p>\n\u003cp>[ad fullwidth]\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> took as many notes as I could in the dimly lit, fancy, Art Deco-style movie house.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> is based on the real life experiences of Jimmie Fails IV (who plays the character of the same name), a native San Franciscan who wants nothing more than to regain this beautiful mammoth of a house in the Fillmore District. In the movie, the story goes that Jimmie’s father’s father was no carpenter, but managed to buy the lot and construct the building with his own hands. Due to Jimmie’s father’s mismanagement, the family lost the house when Jimmie was young, but he never lost his affection for the place.\u003c/p>\n\u003cp>Through this tale of Jimmie’s efforts to preserve family legacy, you not only get a look at a rapidly changing San Francisco, but a perspective on how the concept of home is intertwined with identity and masculinity—especially for a black man who grew up as a have-not.\u003c/p>\n\u003cp>Jimmie’s best friend Montgomery Allen, played by Jonathan Majors, is a quirky creative who has a front row seat to the play that is Jimmie’s life. He sees Jimmie’s broken family, the hood cats that Jimmie grew up with and Jimmie’s escape mechanism and top mode of transportation—his skateboard. [aside postid='arts_13858037']\u003c/p>\n\u003cp>It’s Monty, as they call him, who portrays Jimmie’s experiences in his art in an effort to tell his friend: he’s much more than four walls—he’s a nuanced human being in a rapidly changing world, and that’s OK.\u003c/p>\n\u003cp>Does Jimmie hear that? I don’t think so. I wouldn’t have heard it either.\u003c/p>\n\u003cp>I grew up moving every few years. Never owned property or had a family home. But Oakland is my home, much in the same way that building is Jimmie’s. I don’t own anything in Oakland, but, like Jimmie, I do my best to make sure the trim is painted and the perennials are pruned.\u003c/p>\n\u003cp>It’s more than home, it’s intertwined with my concept of identity, manhood, ego, id—me. Whatever you want to call it. And I shudder at the thought of having to leave here because I can’t afford a place to live.\u003c/p>\n\u003cp>(Now we’re not talking about the film, we’re talking about me.)\u003c/p>\n\u003cp>To watch this film in the Grand Lake Theatre meant something. It’s the place where I ran out of\u003cem> Jurassic Park\u003c/em> crying because I was a scared elementary school kid. It’s where I got to third base with my middle school girlfriend while we watched \u003cem>Shallow Hal\u003c/em>.\u003c/p>\n\u003cp>I’ve brought in whole meals from the nearby KFC and propped open the back door to let friends in to films they couldn’t afford.\u003c/p>\n\u003cp>I have memories of shedding tears while watching \u003cem>Selma\u003c/em> with my mom on one side of the theatre, and memories of the whole audience seemingly crying in unison as we all watched \u003cem>Fruitvale Station \u003c/em>on the other side\u003cem>—\u003c/em>with Oscar Grant’s mom not too far from me.\u003c/p>\n\u003cp>So we we talked about this idea of manhood and place on the panel. The plan was to discuss more, but this concept took over the discussion.\u003c/p>\n\u003cfigure id=\"attachment_13858094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg\" alt=\"Still from Joe Talbot's 'The Last Black Man in San Francisco,' with Jonathan Majors and Jimmie Fails.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Joe Talbot’s ‘The Last Black Man in San Francisco,’ with Jonathan Majors and Jimmie Fails. \u003ccite>(Photo by Peter Prato; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted to ask Joe Talbot, a white man, about his thought process while writing about himself as Jimmie’s good friend—a role that was portrayed by a black man. I wanted to know more about the soundtrack, how live instruments and Joni Mitchell samples were chosen. And who was the genius who made sure San Francisco rap greats like Willie Hen and San Quinn had cameos?\u003c/p>\n\u003cp>What significance did doorways play in the film, as they seemed to serve as a mechanism to stepping into someone’s world?\u003c/p>\n\u003cp>I wanted to ask Tichina Arnold about her outpouring of appreciation for film producer and Oakland native Khaliah Neal—who Arnold pulled to the center of the stage prior to the screening to give her the spotlight. When I saw Neal, wearing an ‘East Side of Oakland’ shirt, I noted that identity, place and home aren’t just concepts impacting black men.\u003c/p>\n\u003cp>I wanted to ask Jimmie Fails IV about skating down those San Francisco hills without a stunt double.\u003c/p>\n\u003cp>But instead of going as I planned, the conversation went the way it was supposed to go.\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\">J\u003c/span>immie and Joe talked about how the film concept evolved from a joke, to a trailer and then a Kickstarter campaign before becoming a full-length film.\u003c/p>\n\u003cp>I asked Danny Glover his initial reaction when he saw the premise of the film, and he opened up his personal history book—noting nearly a century of family history in the City, and how major events, like the longshoreman strike of 1934 and WWII, are intertwined with his own tale.\u003c/p>\n\u003cp>The next day I was conversing with \u003ca href=\"https://twitter.com/isanaka\">Isanaka\u003c/a> on Twitter, letting her know I had never experienced a lesson like the one Glover offered by merging his lived experience with the seldom-told story of San Francisco’s African-American history. I tagged Glover in the tweet, Glover responded with this:\u003c/p>\n\u003cfigure id=\"attachment_13858844\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg\" alt=\"Danny Glover's Tweet to me\" width=\"750\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301-160x153.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover’s Tweet to me \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was Tichina Arnold’s words that resonated the most. “I always say, ‘Black men are everything,’” Arnold said on the topic of how important it is to show the complexities of African-American men in film.\u003c/p>\n\u003cfigure id=\"attachment_13858842\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg\" alt=\"Panel discussion after screen The Last Black Man in San Francisco\" width=\"750\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337-160x160.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Panel discussion after screen The Last Black Man in San Francisco \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And by everything, she meant that they—we—should be shown in totality. And that’s what the film did.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> made me think about Kehinde Wiley paintings. It brought to mind \u003cem>Moonlight\u003c/em>, \u003cem>Boyz n the Hood\u003c/em> and \u003cem>Blindspotting\u003c/em>. Flashes of photos from Gordon Parks or Devin Allen. It was the visual equivalent of a verse from Common or a James Baldwin poem.\u003c/p>\n\u003cp>It’s a damn good film about San Francisco, and a cold depiction of black manhood. It hit home for me, even if Oakland wasn’t mentioned.\u003c/p>\n\u003cp>There were images that I recognized: like the joy Jimmie exuded when he finally got into the house—running around wildly until he slipped and busted his lip. And there were depictions of tense moments, like after Kofi (played by \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>) was killed and his crew members came toe-to-toe with Jimmie for asking questions regarding the homicide, only to open up for a hug.\u003c/p>\n\u003cp>There weren’t any images of Pier 39 or Alcatraz. I can’t recall if they even showed the Golden Gate. Instead, \u003cem>The Last Black Man in San Francisco\u003c/em> reminded us that the Fillmore was “the Harlem of the West,” and made mention of the toxic water and soil due to the Navy’s presence in the Bayview–Hunters Point neighborhood.\u003c/p>\n\u003cp>Cable cars were there, but that was only when we saw main character barreling down those massive SF hills on a skateboard like he runs the joint—I still want to know how he mastered that craft of navigating the City like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I guess when a place is home, you just own it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ight, so boom: Last Thursday I’m on stage at the Grand Lake Theatre, hosting a panel discussion after a screening of \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I’m underdressed: a black T-shirt, jean jacket and a Warriors hat. I mean, the event was happening at the same time as the first game of the NBA finals, so I’m rocking the hat for a reason. But I’m missing the game because—well, I told you: I’m hosting a panel. And it’s not just any panel, but one that pushed me to look at my personal experiences inside of those same theater walls in a way that made me realize: the doorways of the Grand Lake Theatre could tell the story of my maturation into manhood.\u003c/p>\n\u003cp>But we weren’t there to talk about me, we were there to talk about the film. And I had some heavyweights on the set.\u003c/p>\n\u003cp>To my left was director Joe Talbot. Next to him sat lead actor Jimmie Fails IV and legendary actor, activist and Bay Area native Danny Glover. And on the side of Glover was actor Rob Morgan, who you might know from his role in \u003cem>Stranger Things\u003c/em> or \u003cem>Mudbound\u003c/em>. And at the end of the stage was film and TV star Tichina Arnold.\u003c/p>\n\u003cfigure id=\"attachment_13858841\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg\" alt=\"The cast of 'The Last Black Man in San Francisco.'\" width=\"750\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336-160x119.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Last Black Man in San Francisco.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the audience sat congresswoman Barbara Lee, former Oakland council member Desley Brooks and former Berkeley mayor Gus Newport. Actor Delroy Lindo was there, as well as rapper and \u003cem>Sorry To Bother You\u003c/em> director Boots Riley and his father, the labor attorney Walter Riley. In fact, I was sitting right in front of the older Riley during the screening.\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-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> took as many notes as I could in the dimly lit, fancy, Art Deco-style movie house.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> is based on the real life experiences of Jimmie Fails IV (who plays the character of the same name), a native San Franciscan who wants nothing more than to regain this beautiful mammoth of a house in the Fillmore District. In the movie, the story goes that Jimmie’s father’s father was no carpenter, but managed to buy the lot and construct the building with his own hands. Due to Jimmie’s father’s mismanagement, the family lost the house when Jimmie was young, but he never lost his affection for the place.\u003c/p>\n\u003cp>Through this tale of Jimmie’s efforts to preserve family legacy, you not only get a look at a rapidly changing San Francisco, but a perspective on how the concept of home is intertwined with identity and masculinity—especially for a black man who grew up as a have-not.\u003c/p>\n\u003cp>Jimmie’s best friend Montgomery Allen, played by Jonathan Majors, is a quirky creative who has a front row seat to the play that is Jimmie’s life. He sees Jimmie’s broken family, the hood cats that Jimmie grew up with and Jimmie’s escape mechanism and top mode of transportation—his skateboard. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s Monty, as they call him, who portrays Jimmie’s experiences in his art in an effort to tell his friend: he’s much more than four walls—he’s a nuanced human being in a rapidly changing world, and that’s OK.\u003c/p>\n\u003cp>Does Jimmie hear that? I don’t think so. I wouldn’t have heard it either.\u003c/p>\n\u003cp>I grew up moving every few years. Never owned property or had a family home. But Oakland is my home, much in the same way that building is Jimmie’s. I don’t own anything in Oakland, but, like Jimmie, I do my best to make sure the trim is painted and the perennials are pruned.\u003c/p>\n\u003cp>It’s more than home, it’s intertwined with my concept of identity, manhood, ego, id—me. Whatever you want to call it. And I shudder at the thought of having to leave here because I can’t afford a place to live.\u003c/p>\n\u003cp>(Now we’re not talking about the film, we’re talking about me.)\u003c/p>\n\u003cp>To watch this film in the Grand Lake Theatre meant something. It’s the place where I ran out of\u003cem> Jurassic Park\u003c/em> crying because I was a scared elementary school kid. It’s where I got to third base with my middle school girlfriend while we watched \u003cem>Shallow Hal\u003c/em>.\u003c/p>\n\u003cp>I’ve brought in whole meals from the nearby KFC and propped open the back door to let friends in to films they couldn’t afford.\u003c/p>\n\u003cp>I have memories of shedding tears while watching \u003cem>Selma\u003c/em> with my mom on one side of the theatre, and memories of the whole audience seemingly crying in unison as we all watched \u003cem>Fruitvale Station \u003c/em>on the other side\u003cem>—\u003c/em>with Oscar Grant’s mom not too far from me.\u003c/p>\n\u003cp>So we we talked about this idea of manhood and place on the panel. The plan was to discuss more, but this concept took over the discussion.\u003c/p>\n\u003cfigure id=\"attachment_13858094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg\" alt=\"Still from Joe Talbot's 'The Last Black Man in San Francisco,' with Jonathan Majors and Jimmie Fails.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Joe Talbot’s ‘The Last Black Man in San Francisco,’ with Jonathan Majors and Jimmie Fails. \u003ccite>(Photo by Peter Prato; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted to ask Joe Talbot, a white man, about his thought process while writing about himself as Jimmie’s good friend—a role that was portrayed by a black man. I wanted to know more about the soundtrack, how live instruments and Joni Mitchell samples were chosen. And who was the genius who made sure San Francisco rap greats like Willie Hen and San Quinn had cameos?\u003c/p>\n\u003cp>What significance did doorways play in the film, as they seemed to serve as a mechanism to stepping into someone’s world?\u003c/p>\n\u003cp>I wanted to ask Tichina Arnold about her outpouring of appreciation for film producer and Oakland native Khaliah Neal—who Arnold pulled to the center of the stage prior to the screening to give her the spotlight. When I saw Neal, wearing an ‘East Side of Oakland’ shirt, I noted that identity, place and home aren’t just concepts impacting black men.\u003c/p>\n\u003cp>I wanted to ask Jimmie Fails IV about skating down those San Francisco hills without a stunt double.\u003c/p>\n\u003cp>But instead of going as I planned, the conversation went the way it was supposed to go.\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\">J\u003c/span>immie and Joe talked about how the film concept evolved from a joke, to a trailer and then a Kickstarter campaign before becoming a full-length film.\u003c/p>\n\u003cp>I asked Danny Glover his initial reaction when he saw the premise of the film, and he opened up his personal history book—noting nearly a century of family history in the City, and how major events, like the longshoreman strike of 1934 and WWII, are intertwined with his own tale.\u003c/p>\n\u003cp>The next day I was conversing with \u003ca href=\"https://twitter.com/isanaka\">Isanaka\u003c/a> on Twitter, letting her know I had never experienced a lesson like the one Glover offered by merging his lived experience with the seldom-told story of San Francisco’s African-American history. I tagged Glover in the tweet, Glover responded with this:\u003c/p>\n\u003cfigure id=\"attachment_13858844\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg\" alt=\"Danny Glover's Tweet to me\" width=\"750\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301-160x153.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover’s Tweet to me \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was Tichina Arnold’s words that resonated the most. “I always say, ‘Black men are everything,’” Arnold said on the topic of how important it is to show the complexities of African-American men in film.\u003c/p>\n\u003cfigure id=\"attachment_13858842\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg\" alt=\"Panel discussion after screen The Last Black Man in San Francisco\" width=\"750\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337-160x160.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Panel discussion after screen The Last Black Man in San Francisco \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And by everything, she meant that they—we—should be shown in totality. And that’s what the film did.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> made me think about Kehinde Wiley paintings. It brought to mind \u003cem>Moonlight\u003c/em>, \u003cem>Boyz n the Hood\u003c/em> and \u003cem>Blindspotting\u003c/em>. Flashes of photos from Gordon Parks or Devin Allen. It was the visual equivalent of a verse from Common or a James Baldwin poem.\u003c/p>\n\u003cp>It’s a damn good film about San Francisco, and a cold depiction of black manhood. It hit home for me, even if Oakland wasn’t mentioned.\u003c/p>\n\u003cp>There were images that I recognized: like the joy Jimmie exuded when he finally got into the house—running around wildly until he slipped and busted his lip. And there were depictions of tense moments, like after Kofi (played by \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>) was killed and his crew members came toe-to-toe with Jimmie for asking questions regarding the homicide, only to open up for a hug.\u003c/p>\n\u003cp>There weren’t any images of Pier 39 or Alcatraz. I can’t recall if they even showed the Golden Gate. Instead, \u003cem>The Last Black Man in San Francisco\u003c/em> reminded us that the Fillmore was “the Harlem of the West,” and made mention of the toxic water and soil due to the Navy’s presence in the Bayview–Hunters Point neighborhood.\u003c/p>\n\u003cp>Cable cars were there, but that was only when we saw main character barreling down those massive SF hills on a skateboard like he runs the joint—I still want to know how he mastered that craft of navigating the City like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I guess when a place is home, you just own it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "meet-darren-powell-the-skateboard-re-innovator-of-east-oakland",
"title": "Meet Darren Powell, the Skateboard Re-Innovator of East Oakland",
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"headTitle": "Meet Darren Powell, the Skateboard Re-Innovator of East Oakland | 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\">I\u003c/span> get it: tech companies are moving to Oakland. But you can’t tell me “innovation” is coming to town. It’s been here. Man, I grew up watching folks make backpacks out of shoestrings and cereal boxes. On top of being functional, they made it look cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, having backing from a big venture capital firm is respectable and all, but you ever have nothing and needed something? And then use that need to fuel your creative process? And then have your invention turn heads?\u003c/p>\n\u003cp>While there are studies that say \u003ca href=\"https://qz.com/1120131/as-cities-become-more-innovative-they-also-become-more-unequal/\">innovation accelerates inequality\u003c/a>, I’m a firm believer of the inverse: that non-traditional forms of creativity are innate within lower- and working-class folks, especially black folks.\u003c/p>\n\u003cp>Every post-industrial urban American city currently being gutted and refurbished has been home to innovative people. But Oakland, in particular, has a thing about modifying its transportation: from \u003ca href=\"https://www.youtube.com/watch?v=C4QMffMAwAU\" rel=\"noopener\" target=\"_blank\">whistle tips\u003c/a> on car exhaust pipes to shiny wheels on \u003ca href=\"https://www.kqed.org/arts/11447684/video-meet-east-oaklands-scraper-bike-team\" rel=\"noopener\" target=\"_blank\">scraper bikes\u003c/a>, this town has a knack for recreating the wheel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\">W\u003c/span>hen Larry Stevenson invented the skateboard in 1963, he could never have foreseen someone taking his piece of wood attached to four wheels and remixing it to look like a mini Mercedes Maybach automobile—complete with a slappin’-ass sound system and fully functioning pop-up TV screens. But Darren Powell has done that.\u003c/p>\n\u003cp>You might’ve seen one of his creations around town or in Droop-E & E40’s \u003ca href=\"https://youtu.be/fDUTa_Pi5Cc?t=103\">“Give Me a Light” music video.\u003c/a> Or maybe you’ve seen him on social media, where there’s plenty videos of Powell floating around town on his futuristic skateboards. “\u003ca href=\"https://twitter.com/AlexinOak/status/1032607756086206466\">There is no place like Oakland\u003c/a>,” one post says.\u003c/p>\n\u003cp>https://twitter.com/AlexinOak/status/1032607756086206466\u003c/p>\n\u003cp>Beyond their cool-looking exterior, Powell’s creation caught my eye for crisscrossing some significant storylines of the day: the current price of gas, complaints about \u003ca href=\"https://thebolditalic.com/oaklands-potholes-a-symbol-of-the-town-s-neighborhood-disparity-4de61413908a\">potholes in Oakland\u003c/a>, the development of \u003ca href=\"https://sf.streetsblog.org/2018/10/09/eyes-on-the-street-oaklands-new-dot-builds-some-sweet-protected-bikeways/\">citywide bike lanes\u003c/a> and, of course, the discussion about tech coming to town.\u003c/p>\n\u003cp>It also reaffirmed what I already knew: that in the shadow of whatever Silicon Valley has going on, the application of technology and innovation is something that’s been in the hood since day one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Powell is a middle-aged African American man with cornrows who lives in East Oakland. When he welcomed me into his home, wearing a Kaepernick jersey, he walked me past a showroom-slash-storage room of perfectly lined up skateboards, some battery-powered and some manual. All colorful. A Batman logo on a Batmobile looking board, and the wrapping from \u003cem>Soul Plane\u003c/em> on another. Powell handed me a ginger root beer, gutted a cigarillo and started with his origin story.\u003c/p>\n\u003cp>Professionally, Powell does architectural design. He says he’s always been a do-it-yourselfer. And his earliest memories of creating come from his brother.\u003c/p>\n\u003cp>“My older brother Quincy, he was the inventor as a kid,” Powell said, leaning up against the kitchen counter and using scissors to break down some weed. “I ended up being the inventor and he ended up going to the pen.”\u003c/p>\n\u003cp>Powell, who was raised in East Palo Alto (or “Scrilla-Con Valley,” as he calls it), said his older brother could make anything out of anything. “He’d gut my sister’s dolls and put a motor in them,” he said. But the real inspiration for Powell’s work came from the 1992 movie \u003cem>Freejack,\u003c/em> starring Emilio Estevez, Rene Russo and Mick Jagger.\u003c/p>\n\u003cp>In the movie, Mick Jagger’s character time-travels to kidnap Emilio Estevez’s character, and brings him to an old dude played by Anthony Hopkins who wants his consciousness downloaded onto a much younger and healthy body.\u003c/p>\n\u003cp>This idea inspired the name of Powell’s company, Free Jac Nation.\u003c/p>\n\u003cp>“Freejacking is when you take something and flip it, and take it to the next level,” said Powell.\u003c/p>\n\u003cp>“So, with skateboards, I freejacked it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857312\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\">P\u003c/span>owell first freejacked a vest with translucent pockets, tailored to hold cell phones in the front and tablets on the back. His next invention was a Bluetooth-enabled skateboard.\u003c/p>\n\u003cp>“And then I said, I want to make this skateboard that’s shaped like a car,” said Powell, taking a pull from his blunt has he talked.\u003c/p>\n\u003cp>To make his boards, Powell uses PVC, some plastic and an original mold that he made and patented. He then sends it to a company that stretches the PVC material, and the individual boards are made.\u003c/p>\n\u003cp>“It’s like Build-a-Bear workshop,” said Powell, passing me the herb. “You can order whatever color stickers, and I’ll custom make it, regular or electric…the other part is this: it comes in a kit.”\u003c/p>\n\u003cp>I exhaled and then asked: does that mean people can make their own skateboards?\u003c/p>\n\u003cp>“Yeah,” Powell exclaimed. “The hobby shops are going to love me!”\u003c/p>\n\u003cp>The DIY boards are the lower-end skateboards; he has some that are fully custom made and cost a bit more. Powell told me his skateboards go from $99 to $19,000.\u003c/p>\n\u003cp>Of the pricier skateboards, Powell said, “those are custom, there’s a lot of work that goes into them. I call myself the Chanel bag of skateboards. If you buy Jordans, you’ll buy my skateboards. If you buy a Gucci backpack, you’ll buy my skateboards—and you’ll take care of them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\">P\u003c/span>owell has yet to sell any of the high-end boards, but that may change soon. He’s been in contact with Lil Wayne about them, Snoop Dogg has posted one on social media, and he has E-40’s signature on a Slurricane-themed board. He’s working to get Rick Ross to sign his Maybach one.\u003c/p>\n\u003cp>Meanwhile, he’s sold over a dozen lower-end models and counting. Some of his battery-powered skateboards, which are controlled by handheld remotes, have dual battery packs. He told me the top speed he’s hit is around 25 mph, on his Volkswagen Bus modeled board, which has two motors.\u003c/p>\n\u003cp>I damn near blew his high when I asked if he’s fallen off of his board before. “Potholes!” Powell said, as if identifying the enemy. “You’ve got to really look out, my eyes are always on the move: potholes, doors, everyone else,” said Powell. (One time he fell, “I just popped off the goddamn skateboard and was cussing at these damn Oakland streets. Man, these are some raggedy-ass streets. But they’re starting to get better.”)\u003c/p>\n\u003cp>Powell’s a fan of the developing system of citywide bike lanes, and sees the need for changes to the traffic system in Oakland. He lives just blocks from where Alma Soraya Vasquez, and her 6 year-old son Angel Garcia-Vasquez were killed during a \u003ca href=\"https://www.nbcbayarea.com/news/local/Mother-and-7-Year-Old-Son-Dead-After-Hit-and-Run-Collision-508557251.html\">hit-and-run\u003c/a> accident last month.\u003c/p>\n\u003cp>Powell’s creations are just another push for alternative modes of transportation in the urban arena, an addition to the \u003ca href=\"https://www.kqed.org/pop/103762/electric-scooters-are-changing-the-fabric-of-society-says-twitter\" rel=\"noopener\" target=\"_blank\">flood of electric scooters\u003c/a> and the forthcoming \u003ca href=\"http://www.actransit.org/brt/\" rel=\"noopener\" target=\"_blank\">high-speed bus lines\u003c/a>. Those are clear signs that “technology” is coming to Oakland. Powell’s creations are a sign that innovation has been here.\u003c/p>\n\u003cp>Powell’s just getting started—again, he hasn’t sold a single high-end board. But that doesn’t phase him. “If there’s ever a skateboard hall of fame, I might just donate them,” Powell told me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I looked it up, and there is a \u003ca href=\"http://www.skateboardinghalloffame.org/\" rel=\"noopener\" target=\"_blank\">Skateboarding Hall of Fame and Museum\u003c/a> in Southern California. But I hope he doesn’t donate his creations. I’d much rather see Rick Ross riding one in a video.\u003c/p>\n\n",
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"title": "Meet Darren Powell, the Skateboard Re-Innovator of East Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> get it: tech companies are moving to Oakland. But you can’t tell me “innovation” is coming to town. It’s been here. Man, I grew up watching folks make backpacks out of shoestrings and cereal boxes. On top of being functional, they made it look cool.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, having backing from a big venture capital firm is respectable and all, but you ever have nothing and needed something? And then use that need to fuel your creative process? And then have your invention turn heads?\u003c/p>\n\u003cp>While there are studies that say \u003ca href=\"https://qz.com/1120131/as-cities-become-more-innovative-they-also-become-more-unequal/\">innovation accelerates inequality\u003c/a>, I’m a firm believer of the inverse: that non-traditional forms of creativity are innate within lower- and working-class folks, especially black folks.\u003c/p>\n\u003cp>Every post-industrial urban American city currently being gutted and refurbished has been home to innovative people. But Oakland, in particular, has a thing about modifying its transportation: from \u003ca href=\"https://www.youtube.com/watch?v=C4QMffMAwAU\" rel=\"noopener\" target=\"_blank\">whistle tips\u003c/a> on car exhaust pipes to shiny wheels on \u003ca href=\"https://www.kqed.org/arts/11447684/video-meet-east-oaklands-scraper-bike-team\" rel=\"noopener\" target=\"_blank\">scraper bikes\u003c/a>, this town has a knack for recreating the wheel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\">W\u003c/span>hen Larry Stevenson invented the skateboard in 1963, he could never have foreseen someone taking his piece of wood attached to four wheels and remixing it to look like a mini Mercedes Maybach automobile—complete with a slappin’-ass sound system and fully functioning pop-up TV screens. But Darren Powell has done that.\u003c/p>\n\u003cp>You might’ve seen one of his creations around town or in Droop-E & E40’s \u003ca href=\"https://youtu.be/fDUTa_Pi5Cc?t=103\">“Give Me a Light” music video.\u003c/a> Or maybe you’ve seen him on social media, where there’s plenty videos of Powell floating around town on his futuristic skateboards. “\u003ca href=\"https://twitter.com/AlexinOak/status/1032607756086206466\">There is no place like Oakland\u003c/a>,” one post says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyond their cool-looking exterior, Powell’s creation caught my eye for crisscrossing some significant storylines of the day: the current price of gas, complaints about \u003ca href=\"https://thebolditalic.com/oaklands-potholes-a-symbol-of-the-town-s-neighborhood-disparity-4de61413908a\">potholes in Oakland\u003c/a>, the development of \u003ca href=\"https://sf.streetsblog.org/2018/10/09/eyes-on-the-street-oaklands-new-dot-builds-some-sweet-protected-bikeways/\">citywide bike lanes\u003c/a> and, of course, the discussion about tech coming to town.\u003c/p>\n\u003cp>It also reaffirmed what I already knew: that in the shadow of whatever Silicon Valley has going on, the application of technology and innovation is something that’s been in the hood since day one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Powell is a middle-aged African American man with cornrows who lives in East Oakland. When he welcomed me into his home, wearing a Kaepernick jersey, he walked me past a showroom-slash-storage room of perfectly lined up skateboards, some battery-powered and some manual. All colorful. A Batman logo on a Batmobile looking board, and the wrapping from \u003cem>Soul Plane\u003c/em> on another. Powell handed me a ginger root beer, gutted a cigarillo and started with his origin story.\u003c/p>\n\u003cp>Professionally, Powell does architectural design. He says he’s always been a do-it-yourselfer. And his earliest memories of creating come from his brother.\u003c/p>\n\u003cp>“My older brother Quincy, he was the inventor as a kid,” Powell said, leaning up against the kitchen counter and using scissors to break down some weed. “I ended up being the inventor and he ended up going to the pen.”\u003c/p>\n\u003cp>Powell, who was raised in East Palo Alto (or “Scrilla-Con Valley,” as he calls it), said his older brother could make anything out of anything. “He’d gut my sister’s dolls and put a motor in them,” he said. But the real inspiration for Powell’s work came from the 1992 movie \u003cem>Freejack,\u003c/em> starring Emilio Estevez, Rene Russo and Mick Jagger.\u003c/p>\n\u003cp>In the movie, Mick Jagger’s character time-travels to kidnap Emilio Estevez’s character, and brings him to an old dude played by Anthony Hopkins who wants his consciousness downloaded onto a much younger and healthy body.\u003c/p>\n\u003cp>This idea inspired the name of Powell’s company, Free Jac Nation.\u003c/p>\n\u003cp>“Freejacking is when you take something and flip it, and take it to the next level,” said Powell.\u003c/p>\n\u003cp>“So, with skateboards, I freejacked it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857312\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\">P\u003c/span>owell first freejacked a vest with translucent pockets, tailored to hold cell phones in the front and tablets on the back. His next invention was a Bluetooth-enabled skateboard.\u003c/p>\n\u003cp>“And then I said, I want to make this skateboard that’s shaped like a car,” said Powell, taking a pull from his blunt has he talked.\u003c/p>\n\u003cp>To make his boards, Powell uses PVC, some plastic and an original mold that he made and patented. He then sends it to a company that stretches the PVC material, and the individual boards are made.\u003c/p>\n\u003cp>“It’s like Build-a-Bear workshop,” said Powell, passing me the herb. “You can order whatever color stickers, and I’ll custom make it, regular or electric…the other part is this: it comes in a kit.”\u003c/p>\n\u003cp>I exhaled and then asked: does that mean people can make their own skateboards?\u003c/p>\n\u003cp>“Yeah,” Powell exclaimed. “The hobby shops are going to love me!”\u003c/p>\n\u003cp>The DIY boards are the lower-end skateboards; he has some that are fully custom made and cost a bit more. Powell told me his skateboards go from $99 to $19,000.\u003c/p>\n\u003cp>Of the pricier skateboards, Powell said, “those are custom, there’s a lot of work that goes into them. I call myself the Chanel bag of skateboards. If you buy Jordans, you’ll buy my skateboards. If you buy a Gucci backpack, you’ll buy my skateboards—and you’ll take care of them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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\">P\u003c/span>owell has yet to sell any of the high-end boards, but that may change soon. He’s been in contact with Lil Wayne about them, Snoop Dogg has posted one on social media, and he has E-40’s signature on a Slurricane-themed board. He’s working to get Rick Ross to sign his Maybach one.\u003c/p>\n\u003cp>Meanwhile, he’s sold over a dozen lower-end models and counting. Some of his battery-powered skateboards, which are controlled by handheld remotes, have dual battery packs. He told me the top speed he’s hit is around 25 mph, on his Volkswagen Bus modeled board, which has two motors.\u003c/p>\n\u003cp>I damn near blew his high when I asked if he’s fallen off of his board before. “Potholes!” Powell said, as if identifying the enemy. “You’ve got to really look out, my eyes are always on the move: potholes, doors, everyone else,” said Powell. (One time he fell, “I just popped off the goddamn skateboard and was cussing at these damn Oakland streets. Man, these are some raggedy-ass streets. But they’re starting to get better.”)\u003c/p>\n\u003cp>Powell’s a fan of the developing system of citywide bike lanes, and sees the need for changes to the traffic system in Oakland. He lives just blocks from where Alma Soraya Vasquez, and her 6 year-old son Angel Garcia-Vasquez were killed during a \u003ca href=\"https://www.nbcbayarea.com/news/local/Mother-and-7-Year-Old-Son-Dead-After-Hit-and-Run-Collision-508557251.html\">hit-and-run\u003c/a> accident last month.\u003c/p>\n\u003cp>Powell’s creations are just another push for alternative modes of transportation in the urban arena, an addition to the \u003ca href=\"https://www.kqed.org/pop/103762/electric-scooters-are-changing-the-fabric-of-society-says-twitter\" rel=\"noopener\" target=\"_blank\">flood of electric scooters\u003c/a> and the forthcoming \u003ca href=\"http://www.actransit.org/brt/\" rel=\"noopener\" target=\"_blank\">high-speed bus lines\u003c/a>. Those are clear signs that “technology” is coming to Oakland. Powell’s creations are a sign that innovation has been here.\u003c/p>\n\u003cp>Powell’s just getting started—again, he hasn’t sold a single high-end board. But that doesn’t phase him. “If there’s ever a skateboard hall of fame, I might just donate them,” Powell told me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I looked it up, and there is a \u003ca href=\"http://www.skateboardinghalloffame.org/\" rel=\"noopener\" target=\"_blank\">Skateboarding Hall of Fame and Museum\u003c/a> in Southern California. But I hope he doesn’t donate his creations. I’d much rather see Rick Ross riding one in a video.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"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": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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