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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Many often label the rich history of Richmond’s WWII-era days as the city’s long-ago “renaissance.” The population swelled with tens of thousands of shipyard workers—many of them African American—recruited from throughout the United States. Legendary blues clubs proliferated in North Richmond, and the downtown grew.\u003c/p>\n\u003cp>But for the members of the emerging hip-hop dance troupe R.O.O.T.S. (Rising Out of the System) The Movement, Richmond’s heyday isn’t resigned to the history books.\u003c/p>\n\u003cp>There’s beauty within present-day Richmond, R.O.O.T.S. The Movement dancer Deontae Watkins says—a beauty that inspires his movements. “People who came from the South in the 1940s, they came with so much spunk to make these ships for the war,” says fellow dancer Kabreshiona Tiyteea La’Shae Smith. “That just fuels my fire to continue to go hard for our city.”\u003c/p>\n\u003cp>R.O.O.T.S. The Movement members, all born and raised in Richmond, came up through the RYSE Youth Center and the East Bay Center for the Performing Arts, known as “The Center.” For the dance troupe, who perform a mixture of styles influenced by krumping, hip-hop moves, African dance and modern ballet, their approach to collaborative choreography is crucial to their mission. “We like to see everyone shine and grow at the same time,” says Aziza Thomas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">Stern Grove\u003c/a>, the free concert series, returns to San Francisco for its 82nd edition this year with pioneering conscious hip-hop trio \u003ca href=\"http://www.sterngrove.org/june-16-2019/\" target=\"_blank\" rel=\"noopener\">Digable Planets\u003c/a> and local hip–hop-soul band Bang Data kicking off the programming on June 16.\u003c/p>\n\u003cp>The free outdoor concerts continue weekly through August 18, and cater to a wide variety of tastes. Classical music lovers can catch the \u003ca href=\"http://www.sterngrove.org/july-7-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> performing Tchaikovsky, Mussorgsky, Elgar and Mendelssohn on July 7; the \u003ca href=\"http://www.sterngrove.org/july-28-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> performs on July 28.\u003c/p>\n\u003cp>Indie rocker \u003ca href=\"http://www.sterngrove.org/july-14-2019/\" target=\"_blank\" rel=\"noopener\">Mitski\u003c/a> (Mitski’s \u003cem>Be the Cowboy\u003c/em> made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list) performs on July 14 with Bay Area indie folk singer Madeline Kenney as the opener. Post-punk band \u003ca href=\"http://www.sterngrove.org/august-4-2019/\" target=\"_blank\" rel=\"noopener\">the Psychedelic Furs\u003c/a> play Aug. 4. Soul legends \u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">the Isley Brothers\u003c/a> close out the festival on Aug. 18 for the Big Picnic, the fundraiser that supports the free events.\u003c/p>\n\u003cp>The full schedule:\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: Digable Planets, Bang Data\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 23\u003c/strong>: Los Van Van, Banda Sin Nombre\u003c/p>\n\u003cp>\u003cstrong>June 30\u003c/strong>: Galactic, Baby & the Luvies\u003c/p>\n\u003cp>\u003cstrong>July 7\u003c/strong>: San Francisco Symphony\u003c/p>\n\u003cp>\u003cstrong>July 14\u003c/strong>: Mitski, Madeline Kenney\u003c/p>\n\u003cp>\u003cstrong>July 21\u003c/strong>: Toots & the Maytals, Lee Fields & the Expressions\u003c/p>\n\u003cp>\u003cstrong>July 28\u003c/strong>: San Francisco Ballet\u003c/p>\n\u003cp>\u003cstrong>Aug. 4\u003c/strong>: The Psychedelic Furs, James\u003c/p>\n\u003cp>\u003cstrong>Aug. 11\u003c/strong>: Pink Martini, Barrio Manouche\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It all goes down every Sunday of summer at the corner of 19th Avenue and Sloat Boulevard. Details \u003ca href=\"http://www.sterngrove.org/#concerts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">Stern Grove\u003c/a>, the free concert series, returns to San Francisco for its 82nd edition this year with pioneering conscious hip-hop trio \u003ca href=\"http://www.sterngrove.org/june-16-2019/\" target=\"_blank\" rel=\"noopener\">Digable Planets\u003c/a> and local hip–hop-soul band Bang Data kicking off the programming on June 16.\u003c/p>\n\u003cp>The free outdoor concerts continue weekly through August 18, and cater to a wide variety of tastes. Classical music lovers can catch the \u003ca href=\"http://www.sterngrove.org/july-7-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> performing Tchaikovsky, Mussorgsky, Elgar and Mendelssohn on July 7; the \u003ca href=\"http://www.sterngrove.org/july-28-2019/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> performs on July 28.\u003c/p>\n\u003cp>Indie rocker \u003ca href=\"http://www.sterngrove.org/july-14-2019/\" target=\"_blank\" rel=\"noopener\">Mitski\u003c/a> (Mitski’s \u003cem>Be the Cowboy\u003c/em> made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list) performs on July 14 with Bay Area indie folk singer Madeline Kenney as the opener. Post-punk band \u003ca href=\"http://www.sterngrove.org/august-4-2019/\" target=\"_blank\" rel=\"noopener\">the Psychedelic Furs\u003c/a> play Aug. 4. Soul legends \u003ca href=\"http://www.sterngrove.org/august-18-2019/\" target=\"_blank\" rel=\"noopener\">the Isley Brothers\u003c/a> close out the festival on Aug. 18 for the Big Picnic, the fundraiser that supports the free events.\u003c/p>\n\u003cp>The full schedule:\u003c/p>\n\u003cp>\u003cstrong>June 16\u003c/strong>: Digable Planets, Bang Data\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 23\u003c/strong>: Los Van Van, Banda Sin Nombre\u003c/p>\n\u003cp>\u003cstrong>June 30\u003c/strong>: Galactic, Baby & the Luvies\u003c/p>\n\u003cp>\u003cstrong>July 7\u003c/strong>: San Francisco Symphony\u003c/p>\n\u003cp>\u003cstrong>July 14\u003c/strong>: Mitski, Madeline Kenney\u003c/p>\n\u003cp>\u003cstrong>July 21\u003c/strong>: Toots & the Maytals, Lee Fields & the Expressions\u003c/p>\n\u003cp>\u003cstrong>July 28\u003c/strong>: San Francisco Ballet\u003c/p>\n\u003cp>\u003cstrong>Aug. 4\u003c/strong>: The Psychedelic Furs, James\u003c/p>\n\u003cp>\u003cstrong>Aug. 11\u003c/strong>: Pink Martini, Barrio Manouche\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It all goes down every Sunday of summer at the corner of 19th Avenue and Sloat Boulevard. Details \u003ca href=\"http://www.sterngrove.org/#concerts\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Miguel, Tierra Whack Headline Sol Blume Festival in Sacramento",
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"content": "\u003cp>Sacramento is home to a new festival called \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume\u003c/a>, which definitely sounds worth the road trip for our readers in the Bay Area. The independently booked event, now in its second year, takes place on April 27 at Cesar Chavez Plaza, and stars Miguel, the R&B and neo-soul singer responsible for hits like the Prince-inspired “\u003ca href=\"https://youtu.be/rnhlTS8RgUM\" target=\"_blank\" rel=\"noopener\">Told You So\u003c/a>” and sun-soaked summer jam “\u003ca href=\"https://youtu.be/76O3w4pt0CA\" target=\"_blank\" rel=\"noopener\">Sky Walker\u003c/a>.”\u003c/p>\n\u003cp>Tierra Whack, one of the most creative and imaginative rappers out, joins Miguel on the bill. Whack made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list with her delightfully weird debut, \u003cem>Whack World\u003c/em>, which accomplishes the impressive feat of building complex fictional worlds in one-minute tracks that draw from R&B, trap and even country.\u003c/p>\n\u003cp>https://youtu.be/EOTebhPy04g\u003c/p>\n\u003cp>Rising indie folk star and filmmaker Jessie Reyez, who has written lyrics for pop stars like Dua Lipa and Normani, is also on the bill. She made waves last year with her soulfully sung “\u003ca href=\"https://youtu.be/--YgtVuvWGo\" target=\"_blank\" rel=\"noopener\">Body Count\u003c/a>,” where her raspy voice takes center stage over sparse, acoustic instrumentation. Producer, singer and saxophonist \u003ca href=\"https://youtu.be/hC8CH0Z3L54\" target=\"_blank\" rel=\"noopener\">Masego\u003c/a> will also perform, as well as R&B singer \u003ca href=\"https://youtu.be/hB_iYniHrCw\" target=\"_blank\" rel=\"noopener\">Queen Naija\u003c/a> and a slate of other up-and-coming artists.\u003c/p>\n\u003cp>\u003cem>The full lineup and more details on Sol Blume can be found \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sacramento is home to a new festival called \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume\u003c/a>, which definitely sounds worth the road trip for our readers in the Bay Area. The independently booked event, now in its second year, takes place on April 27 at Cesar Chavez Plaza, and stars Miguel, the R&B and neo-soul singer responsible for hits like the Prince-inspired “\u003ca href=\"https://youtu.be/rnhlTS8RgUM\" target=\"_blank\" rel=\"noopener\">Told You So\u003c/a>” and sun-soaked summer jam “\u003ca href=\"https://youtu.be/76O3w4pt0CA\" target=\"_blank\" rel=\"noopener\">Sky Walker\u003c/a>.”\u003c/p>\n\u003cp>Tierra Whack, one of the most creative and imaginative rappers out, joins Miguel on the bill. Whack made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13846693/listen-kqed-arts-top-20-albums-of-2018\" target=\"_blank\" rel=\"noopener\">Top 20 Albums of 2018\u003c/a> list with her delightfully weird debut, \u003cem>Whack World\u003c/em>, which accomplishes the impressive feat of building complex fictional worlds in one-minute tracks that draw from R&B, trap and even country.\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/EOTebhPy04g'\n title='//www.youtube.com/embed/EOTebhPy04g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rising indie folk star and filmmaker Jessie Reyez, who has written lyrics for pop stars like Dua Lipa and Normani, is also on the bill. She made waves last year with her soulfully sung “\u003ca href=\"https://youtu.be/--YgtVuvWGo\" target=\"_blank\" rel=\"noopener\">Body Count\u003c/a>,” where her raspy voice takes center stage over sparse, acoustic instrumentation. Producer, singer and saxophonist \u003ca href=\"https://youtu.be/hC8CH0Z3L54\" target=\"_blank\" rel=\"noopener\">Masego\u003c/a> will also perform, as well as R&B singer \u003ca href=\"https://youtu.be/hB_iYniHrCw\" target=\"_blank\" rel=\"noopener\">Queen Naija\u003c/a> and a slate of other up-and-coming artists.\u003c/p>\n\u003cp>\u003cem>The full lineup and more details on Sol Blume can be found \u003ca href=\"https://www.solblume.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Karibbean City’s After-Hours Permit Revoked, Prompting Discrimination Accusation",
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"content": "\u003cp>The City of Oakland has revoked a popular nightclub’s after-hours permit at the urging of the Oakland Police Department, citing crime near the club and the wider “downtown area.” \u003c/p>\n\u003cp>Richard Ali, owner of Webster Street hip-hop club New Karibbean City, was notified Thursday of the permit revocation, which he said is tantamount to shuttering his business. “My model is people coming in after 1 o’clock,” he said. “We make most of our money during that time.” \u003c/p>\n\u003cp>Oakland police, in a letter acquired by KQED, called New Karibbean City a “nuisance” and a “drain on resources,” citing four reports of felonies “in and around” the club in the past six months. “So far this year, the Oakland Police Department has recovered 11 illegally possessed firearms in the immediate downtown area,” the police captain’s letter reads. “This trend cannot continue.” \u003c/p>\n\u003cp>Ali said it’s unfair to blame his club for 11 guns recovered in an area teeming with bars and venues. Of the three shootings cited in the letter, the original police reports show one stemmed from an argument in a different bar, and another occurred in a shared parking lot. Overall, Oakland police data show crime has actually dropped in the area including downtown. \u003c/p>\n\u003cfigure id=\"attachment_13853568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg\" alt=\"New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13853568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regulars celebrate New Karibbean City, a 752-capacity club that Ali has owned since 2008, as a vestige of old Oakland, and it attracts a predominantly black clientele. (He has also owned nearby Level 13 since 2007.) Ali said his club’s demographic is the real problem for police, calling the revocation the latest example of Oakland police’s double standards and onerous restrictions for hip-hop nightlife. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ali spoke Friday as he prepared to file an appeal, which costs $763. He pointed out that his after-hours permit has long carried a condition stating, “No Hip-Hop events will be planned for the extended hour days,” to support his argument that New Karibbean City is treated differently because of its audience. “I’ve been reasonable, and this is discrimination,” he said. \u003c/p>\n\u003cp>DC is Chillin, the KMEL host and New Karibbean City DJ, described the nightclub as a cultural fixture popular among Oakland natives, noting that his mom partied there in its earlier incarnation. “It’s the last club,” he said. “A lot of new places are lounge-based, and a lot of East and West Oakland people I know aren’t comfortable with the new places.”\u003c/p>\n\u003cp>DC added, “At NKC you can play a new record and the crowd’s real with you.”\u003c/p>\n\u003cp>He pointed out, for example, that fellow DJ Big Von played Ella Mai’s single “Boo’d Up” at New Karibbean City in late 2017. Inspired by the audience response, he brought it to KMEL, and radio nationally followed suit. Von’s selection that night was noted in \u003cem>Rolling Stone\u003c/em> as a \u003ca href=\"https://www.rollingstone.com/music/music-features/bood-up-how-ella-mai-is-leading-female-rb-singers-back-onto-the-charts-628233/\">turning point\u003c/a> for the now-smash single. \u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is appealing the City of Oakland's decision to revoke his club's after-hours permit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is appealing the City of Oakland’s decision to revoke his club’s after-hours permit. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ali was \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" rel=\"noopener\" target=\"_blank\">interviewed by this writer for a 2017 feature\u003c/a> about Oakland police and live hip-hop, describing how city cops, particularly in the Special Events Unit, pressured promoters to drop certain rappers from lineups. Some local artists felt they were effectively blacklisted; in one incident, Ali said an officer insisted he drop a rapper because of the artist’s lyrics about police harassment.\u003c/p>\n\u003cp>Previous reporting has shown that hip-hop venue owners in Oakland, including Ali, are required to seek special-event permits entailing thousands of dollars in police fees. Meanwhile, clubs associated with other styles of music are spared the expense under otherwise identical circumstances. The costs have led Ali and other promoters to pass on booking prominent touring artists in Oakland.\u003c/p>\n\u003cp>The latest conflicts are part of a long history. Oakland police and the local hip-hop community have been at odds practically since the inception of hip-hop. The city imposed a year-long moratorium on live rap in 1989, right at the time local artists such as Too $hort and MC Hammer were building national profiles. Geoffrey’s Inner Circle owner Geoffrey Pete blamed police overtime costs for temporarily closing his storied club in 2009, and filed an unsuccessful civil-rights lawsuit against the department.\u003c/p>\n\u003cp>KQED has requested comment from the Oakland Police Department. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated with comments from DC is Chillin. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has revoked a popular nightclub’s after-hours permit at the urging of the Oakland Police Department, citing crime near the club and the wider “downtown area.” \u003c/p>\n\u003cp>Richard Ali, owner of Webster Street hip-hop club New Karibbean City, was notified Thursday of the permit revocation, which he said is tantamount to shuttering his business. “My model is people coming in after 1 o’clock,” he said. “We make most of our money during that time.” \u003c/p>\n\u003cp>Oakland police, in a letter acquired by KQED, called New Karibbean City a “nuisance” and a “drain on resources,” citing four reports of felonies “in and around” the club in the past six months. “So far this year, the Oakland Police Department has recovered 11 illegally possessed firearms in the immediate downtown area,” the police captain’s letter reads. “This trend cannot continue.” \u003c/p>\n\u003cp>Ali said it’s unfair to blame his club for 11 guns recovered in an area teeming with bars and venues. Of the three shootings cited in the letter, the original police reports show one stemmed from an argument in a different bar, and another occurred in a shared parking lot. Overall, Oakland police data show crime has actually dropped in the area including downtown. \u003c/p>\n\u003cfigure id=\"attachment_13853568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg\" alt=\"New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13853568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regulars celebrate New Karibbean City, a 752-capacity club that Ali has owned since 2008, as a vestige of old Oakland, and it attracts a predominantly black clientele. (He has also owned nearby Level 13 since 2007.) Ali said his club’s demographic is the real problem for police, calling the revocation the latest example of Oakland police’s double standards and onerous restrictions for hip-hop nightlife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ali spoke Friday as he prepared to file an appeal, which costs $763. He pointed out that his after-hours permit has long carried a condition stating, “No Hip-Hop events will be planned for the extended hour days,” to support his argument that New Karibbean City is treated differently because of its audience. “I’ve been reasonable, and this is discrimination,” he said. \u003c/p>\n\u003cp>DC is Chillin, the KMEL host and New Karibbean City DJ, described the nightclub as a cultural fixture popular among Oakland natives, noting that his mom partied there in its earlier incarnation. “It’s the last club,” he said. “A lot of new places are lounge-based, and a lot of East and West Oakland people I know aren’t comfortable with the new places.”\u003c/p>\n\u003cp>DC added, “At NKC you can play a new record and the crowd’s real with you.”\u003c/p>\n\u003cp>He pointed out, for example, that fellow DJ Big Von played Ella Mai’s single “Boo’d Up” at New Karibbean City in late 2017. Inspired by the audience response, he brought it to KMEL, and radio nationally followed suit. Von’s selection that night was noted in \u003cem>Rolling Stone\u003c/em> as a \u003ca href=\"https://www.rollingstone.com/music/music-features/bood-up-how-ella-mai-is-leading-female-rb-singers-back-onto-the-charts-628233/\">turning point\u003c/a> for the now-smash single. \u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is appealing the City of Oakland's decision to revoke his club's after-hours permit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is appealing the City of Oakland’s decision to revoke his club’s after-hours permit. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ali was \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" rel=\"noopener\" target=\"_blank\">interviewed by this writer for a 2017 feature\u003c/a> about Oakland police and live hip-hop, describing how city cops, particularly in the Special Events Unit, pressured promoters to drop certain rappers from lineups. Some local artists felt they were effectively blacklisted; in one incident, Ali said an officer insisted he drop a rapper because of the artist’s lyrics about police harassment.\u003c/p>\n\u003cp>Previous reporting has shown that hip-hop venue owners in Oakland, including Ali, are required to seek special-event permits entailing thousands of dollars in police fees. Meanwhile, clubs associated with other styles of music are spared the expense under otherwise identical circumstances. The costs have led Ali and other promoters to pass on booking prominent touring artists in Oakland.\u003c/p>\n\u003cp>The latest conflicts are part of a long history. Oakland police and the local hip-hop community have been at odds practically since the inception of hip-hop. The city imposed a year-long moratorium on live rap in 1989, right at the time local artists such as Too $hort and MC Hammer were building national profiles. Geoffrey’s Inner Circle owner Geoffrey Pete blamed police overtime costs for temporarily closing his storied club in 2009, and filed an unsuccessful civil-rights lawsuit against the department.\u003c/p>\n\u003cp>KQED has requested comment from the Oakland Police Department. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated with comments from DC is Chillin. \u003c/em>\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\">M\u003c/span>y cousin \u003ca href=\"https://www.instagram.com/rescataaa/\">Taevon Ransom\u003c/a> landed in Oakland around midnight a few Saturdays ago and told me he was hungry. I asked if he likes sushi. He told me that he’d never had it before.\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>Trying new things is the reason why a 20 year-old college student from Columbus, Ohio would visit California for his spring break.\u003c/p>\n\u003cp>Minutes later, we were at Kansai in North Oakland, where before long, he gave up on using chopsticks and began bare-handing a Lion King Roll. Taevon—my college-aged comrade with a passion for rapping and singing—didn’t know it at that moment, but that was the entry point for his tour of arts and culture in the Bay Area.\u003c/p>\n\u003cp>As I sat next to him, using my chopsticks to fish noodles out of a bowl, I had no idea Taevon’s trip would allow me to re-see this place I call home, and appreciate it all over again. Through my young cousin’s eyes, I got a quick refresher on the amount of traffic we navigate here; the sunshine glowing off the East Oakland hillside; the drastic income inequality manifested through latent racism, as well as a further appreciation of how superstars—world-renown talents—are just normal people walking the streets of the Bay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next morning we stood on Faro Point, that little weird peninsula that juts out into the San Leandro Marina, and I gave him the lay of the land: Facebook is that way. E-40 is from up there. And the Pacific Ocean is beyond those funny-shaped buildings.\u003c/p>\n\u003cp>I wiped my hands. Geography was cake. This arts and culture thing is a bit more complex.\u003c/p>\n\u003cfigure id=\"attachment_13853048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/IMG_3778-1-800x600.jpeg\" alt=\"Taevon Ransom at San Leandro Marina\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taevon Ransom at San Leandro Marina’s Faro Point. // Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat evening we slid into West Oakland’s \u003ca href=\"https://alenamuseum.com/\">Alena Museum and Art Gallery\u003c/a> for a working session with artists of all sorts. I’m talking someone painting on a wall over here, someone hemming jeans over there, someone else drawing on paper in such detail that it looked like a printed photo.\u003c/p>\n\u003cp>And there was incense burning… And someone brought chili.\u003c/p>\n\u003cp>In a back studio, \u003ca href=\"https://www.instagram.com/omiiroo/?hl=en\">Githinji Mbire\u003c/a> (you might recognize his work from the scene in \u003cem>Sorry To Bother You\u003c/em>, where Tessa Thompson’s character holds an art opening) was laying out a bunch of art pieces shaped like the continent of Africa—his staple. He’d constructed them from all sorts of pieces of wood, smaller than his other renditions of this design. He told me he plans to sell the small pieces on a sliding scale during the closing event at Alena at the end of this month.\u003c/p>\n\u003cp>Wait, Alena is closing? Seven Styles, the space’s manager, confirmed that after a long back-and-forth with the property owner, Alena Musuem will close at the end of the month. And on March 30, \u003ca href=\"https://www.eventbrite.com/e/reclaim-our-city-community-art-and-cultural-festival-tickets-58396770312\">they’re hosting one last party\u003c/a>.\u003c/p>\n\u003cp>I gave my cousin some context about Oakland’s recent history with warehouse spaces used for art and music, and \u003ca href=\"https://www.kqed.org/news/tag/ghost-ship-fire\">the story of the Ghost Ship fire\u003c/a>. I told him how that led to stricter regulations of warehouses where artists work, and simultaneously made places for artists of color harder to secure than ever.\u003c/p>\n\u003cp>My old man river tale was interrupted by this kid with glasses named \u003ca href=\"https://www.instagram.com/jacobdeloakland/\">Jacob Del Oakland\u003c/a>, asking if anyone in the room rapped. The universe knew to connect Jacob—an MC from Oakland who’s currently a senior at Kenyon College in Ohio—to Taevon, who’s currently a sophomore at Ohio University. The duo instantly clicked, grabbed a mic and went to work. They were later joined by \u003ca href=\"https://www.instagram.com/ashiakarana/\">Aishia Karana\u003c/a>, who played the guitar and sang a rendition of Andre 3000’s “Prototype,” as \u003ca href=\"https://www.instagram.com/cadencemylesmusic/?hl=en\">Cadence Myles\u003c/a> held down the drums.\u003c/p>\n\u003cp>I laughed as Taevon and Jacob fell the hell back and watched Aishia and Cadence do their thing. So often I’ve seen guys hog the mic in the cipher, but this time the young men just stood back, near the chili that Aishia had brought, and watched in awe for a few.\u003c/p>\n\u003cp>Taevon and I left with Andre 3000’s words stuck in our heads, and we bent a corner or two before we pulled up to my block. Across the street from my apartment, three candles lit the porch of Councilmember Lynette Gibson McElhaney’s residence. I told Taevon how the family is mourning \u003ca href=\"https://www.latimes.com/local/lanow/la-me-victor-mcelhaney-usc-student-killed-oakland-son-20190311-story.html\">the recent murder of her son, Victor McElhaney\u003c/a>. Victor, a drummer who was well-known in artists’ circles around Oakland, had been shot and killed in a reported botched robbery on USC’s campus in Los Angeles.\u003c/p>\n\u003cp>With heavy hearts, we called it a night and prepared for the morning.\u003c/p>\n\u003cfigure id=\"attachment_13853050\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853050\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/IMG_3788-800x600.jpeg\" alt=\"Githinji Mbire at Alena Musuem and Art Gallery in West Oakland\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Githinji Mbire at Alena Musuem and Art Gallery in West Oakland. // Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monday allowed my cousin to see the other side of Bay Area culture: working… all the time. He buried his head in his psychology notebook while I read, wrote and took phone calls in a café.\u003c/p>\n\u003cp>That evening my cousin attended \u003ca href=\"https://www.instagram.com/second_mondays/\">Second Mondays\u003c/a>, an open mic series hosted in \u003ca href=\"https://www.instagram.com/afropics1/\">Tayleur Crenshaw\u003c/a>‘s living room. I’d gone to last month’s event, and although I was few years older than most folks in the room, I was there for the vibe. The 25–30 poets, comedians and artists gathered there on a Monday evening were further evidence that there’s a need for safe spaces for artists of color to simply come together and \u003cem>be\u003c/em>.\u003c/p>\n\u003cp>Taevon was starting to see that.\u003c/p>\n\u003cp>He was also starting to see that women in the Bay Area are uniquely beautiful. When I picked him up from the open mic, he told me he met a girl. I asked what she looked like. He said he couldn’t tell what race she was. I said, yup, that’s the Bay Area for ya.\u003c/p>\n\u003cp>Tuesday was the business side of the arts world. He met my KQED family, and got to attend a pitch meeting. He saw the life-sized Big Bird cutout in the green room, and got a peek at Michael Krasny hosting \u003cem>Forum\u003c/em>.\u003c/p>\n\u003cp>And then we ran downtown to have lunch with my friend Teresa Johns at Twitter. Along the way, I asked him to be mindful as to where he sees African American folks in the city. A lot of people who are homeless or in service positions, he observed.\u003c/p>\n\u003cp>Teresa, a white woman with a heart of gold, showed Taevon around Twitter headquarters while I sat in the lobby and took more phone calls. While my cousin didn’t like the jackfruit tacos from Twitter’s lunchroom, he appreciated seeing the inner workings of the tech business.\u003c/p>\n\u003cp>We ran from there to Bandcamp’s new office in downtown Oakland. When we parked, Taevon said he had some quarters for the meter—and as he put them into the machine, he was shocked to see how little value each coin had. “Damn, it’s expensive here!” he exclaimed.\u003c/p>\n\u003cp>Before we dipped into Bandcamp headquarters, I ran across the street to take a photo of some graffiti: the words “RIP King Victor” painted on a wall at Broadway and 19th, further homage to the life of Victor McElhaney.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.instagram.com/dispomax/\">Max Gibson\u003c/a> gave us a quick tour of Bandcamp and a breakdown on how their music streaming business works, we stopped by Youth Radio—just so lil cuz could see where I came from.\u003c/p>\n\u003cfigure id=\"attachment_13853053\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853053\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-800x600.jpg\" alt=\"A dedication to Victor McElhaney on Broadway in Oakland\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dedication to Victor McElhaney on Broadway in Oakland. // Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ater that evening we pulled up to Zoo Labs, where \u003ca href=\"https://www.instagram.com/fuzethemc/\">Fuze The MC\u003c/a> gave us a tour, told us about selling a hologram he’d designed, mentioned his new card game—The Meme Game—and played us some cuts from his latest album. Another example of constantly working in order to make it here.\u003c/p>\n\u003cp>Before we ran out of Zoo Labs, \u003ca href=\"https://www.instagram.com/aquariusjohns/?hl=en\">Jennifer Johns\u003c/a> ran in. I introduced my cousin and told him he just encountered greatness.\u003c/p>\n\u003cp>And then we made a beeline to the other side of town, where \u003ca href=\"https://www.instagram.com/kvnalln/\">Kevin Allen\u003c/a> was sitting in a studio, fresh back from a trip to Cuba. He spun a couple of tracks for us—including his new album with \u003ca href=\"https://www.instagram.com/rootsanbranches/\">DJ Basta\u003c/a>, which drops next month. And another track, a banger of a song, featuring \u003ca href=\"https://www.instagram.com/manidraper/\">Mani Draper\u003c/a> and \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\">IamSu!\u003c/a>\u003c/p>\n\u003cp>By then, it was late, and time to hit Colonial Donuts for the nightcap.\u003c/p>\n\u003cp>On the final day of his travels, I took my cousin to Richmond where my college buddy, Charles “Chuck T” Turner Jr., recently opened a studio called \u003ca href=\"https://www.instagram.com/richcitystudios/?hl=en\">Rich City Studios\u003c/a>. Taevon got an hour or two of studio time, and laid down some vocals on a track—his mission was complete.\u003c/p>\n\u003cfigure id=\"attachment_13853273\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853273\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-800x1047.jpg\" alt='Taevon Ransom at Rich City Studios in Richmond // Photo credit Charles \"Chuck T\" Turner Jr. ' width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-1020x1335.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-917x1200.jpg 917w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond.jpg 1228w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taevon Ransom at Rich City Studios in Richmond // Photo credit Charles “Chuck T” Turner Jr. \u003ccite>(Charles \"Chuck T\" Turner Jr. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He networked. He performed. He recorded. He ate well and he even saw family.\u003c/p>\n\u003cp>Before we left Richmond to head to the airport, I poked my head into the \u003ca href=\"http://www.eastbaycenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Center for the Performing Arts\u003c/a>—just to introduce myself to the organization, which is celebrating its 50th anniversary. In the lobby, there was a memorial table for Victor McElhaney.\u003c/p>\n\u003cp>Taevon and I then piled into the car to beat the five o’clock traffic. He held the aux cord, playing tracks from folks on the other side of the country, like Lil Tjay, Tae Fresh and Moneybag Yo—a bit of a cultural exchange, if you will. He said the highlight of his trip was the night at Alena—and that the lowlight was not getting any further than just meeting a girl. We laughed.\u003c/p>\n\u003cp>And as drove down 580, near the Grand Avenue exit in Oakland, I pointed out a recently posted hand-printed sign on an overpass: “Love Life 2019.” I told my cousin how that was slogan championed by Lynette Gibson McElhaney a few years ago, as a way to dispel the notion that Oakland is a city of death and despair.\u003c/p>\n\u003cp>Taevon said he admired how our community is attempting to come together, and wrap their arms around the McElhaney family. He also noted the amount of Maseratis he’d seen casually cruising the streets. He laughed at the fact there was a “packaged” date on a bag of marijuana. He pointed to the deep green springtime East Bay hillside in amazement. He got the experience he bargained for.\u003c/p>\n\u003cp>I can’t afford to get my family a leg up in college, like some people here in the Bay Area, but I can afford to give them a first class ticket to the wealth that is arts and culture here in the Bay Area.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He’ll be back again soon. And next time, we’re doing Ethiopian food.\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\">M\u003c/span>y cousin \u003ca href=\"https://www.instagram.com/rescataaa/\">Taevon Ransom\u003c/a> landed in Oakland around midnight a few Saturdays ago and told me he was hungry. I asked if he likes sushi. He told me that he’d never had it before.\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>Trying new things is the reason why a 20 year-old college student from Columbus, Ohio would visit California for his spring break.\u003c/p>\n\u003cp>Minutes later, we were at Kansai in North Oakland, where before long, he gave up on using chopsticks and began bare-handing a Lion King Roll. Taevon—my college-aged comrade with a passion for rapping and singing—didn’t know it at that moment, but that was the entry point for his tour of arts and culture in the Bay Area.\u003c/p>\n\u003cp>As I sat next to him, using my chopsticks to fish noodles out of a bowl, I had no idea Taevon’s trip would allow me to re-see this place I call home, and appreciate it all over again. Through my young cousin’s eyes, I got a quick refresher on the amount of traffic we navigate here; the sunshine glowing off the East Oakland hillside; the drastic income inequality manifested through latent racism, as well as a further appreciation of how superstars—world-renown talents—are just normal people walking the streets of the Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next morning we stood on Faro Point, that little weird peninsula that juts out into the San Leandro Marina, and I gave him the lay of the land: Facebook is that way. E-40 is from up there. And the Pacific Ocean is beyond those funny-shaped buildings.\u003c/p>\n\u003cp>I wiped my hands. Geography was cake. This arts and culture thing is a bit more complex.\u003c/p>\n\u003cfigure id=\"attachment_13853048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853048\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/IMG_3778-1-800x600.jpeg\" alt=\"Taevon Ransom at San Leandro Marina\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3778-1.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taevon Ransom at San Leandro Marina’s Faro Point. // Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat evening we slid into West Oakland’s \u003ca href=\"https://alenamuseum.com/\">Alena Museum and Art Gallery\u003c/a> for a working session with artists of all sorts. I’m talking someone painting on a wall over here, someone hemming jeans over there, someone else drawing on paper in such detail that it looked like a printed photo.\u003c/p>\n\u003cp>And there was incense burning… And someone brought chili.\u003c/p>\n\u003cp>In a back studio, \u003ca href=\"https://www.instagram.com/omiiroo/?hl=en\">Githinji Mbire\u003c/a> (you might recognize his work from the scene in \u003cem>Sorry To Bother You\u003c/em>, where Tessa Thompson’s character holds an art opening) was laying out a bunch of art pieces shaped like the continent of Africa—his staple. He’d constructed them from all sorts of pieces of wood, smaller than his other renditions of this design. He told me he plans to sell the small pieces on a sliding scale during the closing event at Alena at the end of this month.\u003c/p>\n\u003cp>Wait, Alena is closing? Seven Styles, the space’s manager, confirmed that after a long back-and-forth with the property owner, Alena Musuem will close at the end of the month. And on March 30, \u003ca href=\"https://www.eventbrite.com/e/reclaim-our-city-community-art-and-cultural-festival-tickets-58396770312\">they’re hosting one last party\u003c/a>.\u003c/p>\n\u003cp>I gave my cousin some context about Oakland’s recent history with warehouse spaces used for art and music, and \u003ca href=\"https://www.kqed.org/news/tag/ghost-ship-fire\">the story of the Ghost Ship fire\u003c/a>. I told him how that led to stricter regulations of warehouses where artists work, and simultaneously made places for artists of color harder to secure than ever.\u003c/p>\n\u003cp>My old man river tale was interrupted by this kid with glasses named \u003ca href=\"https://www.instagram.com/jacobdeloakland/\">Jacob Del Oakland\u003c/a>, asking if anyone in the room rapped. The universe knew to connect Jacob—an MC from Oakland who’s currently a senior at Kenyon College in Ohio—to Taevon, who’s currently a sophomore at Ohio University. The duo instantly clicked, grabbed a mic and went to work. They were later joined by \u003ca href=\"https://www.instagram.com/ashiakarana/\">Aishia Karana\u003c/a>, who played the guitar and sang a rendition of Andre 3000’s “Prototype,” as \u003ca href=\"https://www.instagram.com/cadencemylesmusic/?hl=en\">Cadence Myles\u003c/a> held down the drums.\u003c/p>\n\u003cp>I laughed as Taevon and Jacob fell the hell back and watched Aishia and Cadence do their thing. So often I’ve seen guys hog the mic in the cipher, but this time the young men just stood back, near the chili that Aishia had brought, and watched in awe for a few.\u003c/p>\n\u003cp>Taevon and I left with Andre 3000’s words stuck in our heads, and we bent a corner or two before we pulled up to my block. Across the street from my apartment, three candles lit the porch of Councilmember Lynette Gibson McElhaney’s residence. I told Taevon how the family is mourning \u003ca href=\"https://www.latimes.com/local/lanow/la-me-victor-mcelhaney-usc-student-killed-oakland-son-20190311-story.html\">the recent murder of her son, Victor McElhaney\u003c/a>. Victor, a drummer who was well-known in artists’ circles around Oakland, had been shot and killed in a reported botched robbery on USC’s campus in Los Angeles.\u003c/p>\n\u003cp>With heavy hearts, we called it a night and prepared for the morning.\u003c/p>\n\u003cfigure id=\"attachment_13853050\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853050\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/IMG_3788-800x600.jpeg\" alt=\"Githinji Mbire at Alena Musuem and Art Gallery in West Oakland\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-1200x900.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/IMG_3788.jpeg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Githinji Mbire at Alena Musuem and Art Gallery in West Oakland. // Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Monday allowed my cousin to see the other side of Bay Area culture: working… all the time. He buried his head in his psychology notebook while I read, wrote and took phone calls in a café.\u003c/p>\n\u003cp>That evening my cousin attended \u003ca href=\"https://www.instagram.com/second_mondays/\">Second Mondays\u003c/a>, an open mic series hosted in \u003ca href=\"https://www.instagram.com/afropics1/\">Tayleur Crenshaw\u003c/a>‘s living room. I’d gone to last month’s event, and although I was few years older than most folks in the room, I was there for the vibe. The 25–30 poets, comedians and artists gathered there on a Monday evening were further evidence that there’s a need for safe spaces for artists of color to simply come together and \u003cem>be\u003c/em>.\u003c/p>\n\u003cp>Taevon was starting to see that.\u003c/p>\n\u003cp>He was also starting to see that women in the Bay Area are uniquely beautiful. When I picked him up from the open mic, he told me he met a girl. I asked what she looked like. He said he couldn’t tell what race she was. I said, yup, that’s the Bay Area for ya.\u003c/p>\n\u003cp>Tuesday was the business side of the arts world. He met my KQED family, and got to attend a pitch meeting. He saw the life-sized Big Bird cutout in the green room, and got a peek at Michael Krasny hosting \u003cem>Forum\u003c/em>.\u003c/p>\n\u003cp>And then we ran downtown to have lunch with my friend Teresa Johns at Twitter. Along the way, I asked him to be mindful as to where he sees African American folks in the city. A lot of people who are homeless or in service positions, he observed.\u003c/p>\n\u003cp>Teresa, a white woman with a heart of gold, showed Taevon around Twitter headquarters while I sat in the lobby and took more phone calls. While my cousin didn’t like the jackfruit tacos from Twitter’s lunchroom, he appreciated seeing the inner workings of the tech business.\u003c/p>\n\u003cp>We ran from there to Bandcamp’s new office in downtown Oakland. When we parked, Taevon said he had some quarters for the meter—and as he put them into the machine, he was shocked to see how little value each coin had. “Damn, it’s expensive here!” he exclaimed.\u003c/p>\n\u003cp>Before we dipped into Bandcamp headquarters, I ran across the street to take a photo of some graffiti: the words “RIP King Victor” painted on a wall at Broadway and 19th, further homage to the life of Victor McElhaney.\u003c/p>\n\u003cp>After \u003ca href=\"https://www.instagram.com/dispomax/\">Max Gibson\u003c/a> gave us a quick tour of Bandcamp and a breakdown on how their music streaming business works, we stopped by Youth Radio—just so lil cuz could see where I came from.\u003c/p>\n\u003cfigure id=\"attachment_13853053\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853053\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-800x600.jpg\" alt=\"A dedication to Victor McElhaney on Broadway in Oakland\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/53607267_10102279978037620_2716052307702710272_n.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dedication to Victor McElhaney on Broadway in Oakland. // Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ater that evening we pulled up to Zoo Labs, where \u003ca href=\"https://www.instagram.com/fuzethemc/\">Fuze The MC\u003c/a> gave us a tour, told us about selling a hologram he’d designed, mentioned his new card game—The Meme Game—and played us some cuts from his latest album. Another example of constantly working in order to make it here.\u003c/p>\n\u003cp>Before we ran out of Zoo Labs, \u003ca href=\"https://www.instagram.com/aquariusjohns/?hl=en\">Jennifer Johns\u003c/a> ran in. I introduced my cousin and told him he just encountered greatness.\u003c/p>\n\u003cp>And then we made a beeline to the other side of town, where \u003ca href=\"https://www.instagram.com/kvnalln/\">Kevin Allen\u003c/a> was sitting in a studio, fresh back from a trip to Cuba. He spun a couple of tracks for us—including his new album with \u003ca href=\"https://www.instagram.com/rootsanbranches/\">DJ Basta\u003c/a>, which drops next month. And another track, a banger of a song, featuring \u003ca href=\"https://www.instagram.com/manidraper/\">Mani Draper\u003c/a> and \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\">IamSu!\u003c/a>\u003c/p>\n\u003cp>By then, it was late, and time to hit Colonial Donuts for the nightcap.\u003c/p>\n\u003cp>On the final day of his travels, I took my cousin to Richmond where my college buddy, Charles “Chuck T” Turner Jr., recently opened a studio called \u003ca href=\"https://www.instagram.com/richcitystudios/?hl=en\">Rich City Studios\u003c/a>. Taevon got an hour or two of studio time, and laid down some vocals on a track—his mission was complete.\u003c/p>\n\u003cfigure id=\"attachment_13853273\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853273\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-800x1047.jpg\" alt='Taevon Ransom at Rich City Studios in Richmond // Photo credit Charles \"Chuck T\" Turner Jr. ' width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-1020x1335.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond-917x1200.jpg 917w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Taevon_Richmond.jpg 1228w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taevon Ransom at Rich City Studios in Richmond // Photo credit Charles “Chuck T” Turner Jr. \u003ccite>(Charles \"Chuck T\" Turner Jr. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He networked. He performed. He recorded. He ate well and he even saw family.\u003c/p>\n\u003cp>Before we left Richmond to head to the airport, I poked my head into the \u003ca href=\"http://www.eastbaycenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Center for the Performing Arts\u003c/a>—just to introduce myself to the organization, which is celebrating its 50th anniversary. In the lobby, there was a memorial table for Victor McElhaney.\u003c/p>\n\u003cp>Taevon and I then piled into the car to beat the five o’clock traffic. He held the aux cord, playing tracks from folks on the other side of the country, like Lil Tjay, Tae Fresh and Moneybag Yo—a bit of a cultural exchange, if you will. He said the highlight of his trip was the night at Alena—and that the lowlight was not getting any further than just meeting a girl. We laughed.\u003c/p>\n\u003cp>And as drove down 580, near the Grand Avenue exit in Oakland, I pointed out a recently posted hand-printed sign on an overpass: “Love Life 2019.” I told my cousin how that was slogan championed by Lynette Gibson McElhaney a few years ago, as a way to dispel the notion that Oakland is a city of death and despair.\u003c/p>\n\u003cp>Taevon said he admired how our community is attempting to come together, and wrap their arms around the McElhaney family. He also noted the amount of Maseratis he’d seen casually cruising the streets. He laughed at the fact there was a “packaged” date on a bag of marijuana. He pointed to the deep green springtime East Bay hillside in amazement. He got the experience he bargained for.\u003c/p>\n\u003cp>I can’t afford to get my family a leg up in college, like some people here in the Bay Area, but I can afford to give them a first class ticket to the wealth that is arts and culture here in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’ll be back again soon. And next time, we’re doing Ethiopian food.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The nonprofit \u003ca href=\"https://www.hiphopforchange.org/\" target=\"_blank\" rel=\"noopener\">Hip-Hop for Change\u003c/a> mobilizes young people to fight for social justice using hip-hop culture as an educational tool, and the organization is gearing up for its third annual \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">Women’s Empowerment Summit\u003c/a>, a free concert and panel discussion starring some of the leading ladies of the Bay Area hip-hop scene, plus a national headliner: Atlanta rapper \u003ca href=\"http://sarocthemc.com\" target=\"_blank\" rel=\"noopener\">Sa-Roc\u003c/a>, whose last Oakland appearance was when she joined headliner Black Thought on stage at \u003ca href=\"https://www.kqed.org/arts/13840194/hiero-day-was-a-triumphant-close-to-a-summer-of-combating-cultural-erasure\" target=\"_blank\" rel=\"noopener\">Hiero Day 2018\u003c/a>. [aside postID=\"arts_13078404\"]\u003c/p>\n\u003cp>Local MCs \u003ca href=\"https://aliasharrief.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alia Sharrief\u003c/a> and \u003ca href=\"https://www.msryannicole.com\" target=\"_blank\" rel=\"noopener\">Ryan Nicole \u003c/a>will join Sa-Roc on stage. Sharrief is an activist and founder of the \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">Hijabi Chronicles\u003c/a>, a platform that promotes Muslim women’s creativity. Ryan Nicole, a TEDx fellow and stage actress, is also a community organizer and brand consultant for grassroots organizations and small businesses. \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener\">DJs Umami\u003c/a> and \u003ca href=\"https://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a>, both prolific in the local nightlife scene, will spin as well. [aside postID=\"arts_12539759\"]\u003c/p>\n\u003cp>The panel portion of the Women’s Empowerment Summit features rapper, activist and former music journalist \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a> and poet, novelist and UC Berkeley professor \u003ca href=\"https://ayadeleon.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Aya de Leon\u003c/a>. They’ll be in conversation about women’s leadership and social issues affecting the Bay Area, with Sterling James from \u003ca href=\"https://kblx.com/sterling-james/\" target=\"_blank\" rel=\"noopener\">KBLX\u003c/a> as host.\u003c/p>\n\u003cp>The Women’s Empowerment Summit takes place on March 9 at the Uptown Night Club in Oakland. Details \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/rxTBeiCwzCo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit \u003ca href=\"https://www.hiphopforchange.org/\" target=\"_blank\" rel=\"noopener\">Hip-Hop for Change\u003c/a> mobilizes young people to fight for social justice using hip-hop culture as an educational tool, and the organization is gearing up for its third annual \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">Women’s Empowerment Summit\u003c/a>, a free concert and panel discussion starring some of the leading ladies of the Bay Area hip-hop scene, plus a national headliner: Atlanta rapper \u003ca href=\"http://sarocthemc.com\" target=\"_blank\" rel=\"noopener\">Sa-Roc\u003c/a>, whose last Oakland appearance was when she joined headliner Black Thought on stage at \u003ca href=\"https://www.kqed.org/arts/13840194/hiero-day-was-a-triumphant-close-to-a-summer-of-combating-cultural-erasure\" target=\"_blank\" rel=\"noopener\">Hiero Day 2018\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local MCs \u003ca href=\"https://aliasharrief.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Alia Sharrief\u003c/a> and \u003ca href=\"https://www.msryannicole.com\" target=\"_blank\" rel=\"noopener\">Ryan Nicole \u003c/a>will join Sa-Roc on stage. Sharrief is an activist and founder of the \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">Hijabi Chronicles\u003c/a>, a platform that promotes Muslim women’s creativity. Ryan Nicole, a TEDx fellow and stage actress, is also a community organizer and brand consultant for grassroots organizations and small businesses. \u003ca href=\"http://www.djumami.com/\" target=\"_blank\" rel=\"noopener\">DJs Umami\u003c/a> and \u003ca href=\"https://www.ladyryan.com/\" target=\"_blank\" rel=\"noopener\">Lady Ryan\u003c/a>, both prolific in the local nightlife scene, will spin as well. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The panel portion of the Women’s Empowerment Summit features rapper, activist and former music journalist \u003ca href=\"https://rockyrivera.weebly.com/\" target=\"_blank\" rel=\"noopener\">Rocky Rivera\u003c/a> and poet, novelist and UC Berkeley professor \u003ca href=\"https://ayadeleon.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Aya de Leon\u003c/a>. They’ll be in conversation about women’s leadership and social issues affecting the Bay Area, with Sterling James from \u003ca href=\"https://kblx.com/sterling-james/\" target=\"_blank\" rel=\"noopener\">KBLX\u003c/a> as host.\u003c/p>\n\u003cp>The Women’s Empowerment Summit takes place on March 9 at the Uptown Night Club in Oakland. Details \u003ca href=\"https://www.eventbrite.com/e/womens-empowerment-summit-feat-sa-roc-ryan-nicole-alia-sharrief-tickets-55611717143\" target=\"_blank\" rel=\"noopener\">here\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/rxTBeiCwzCo'\n title='//www.youtube.com/embed/rxTBeiCwzCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland creative collective \u003ca href=\"http://thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">the House of Malico\u003c/a>—helmed by rapper and filmmaker Queens D.Light (a.k.a. Charmaine Davis) and photographer Sasha Kelley—puts on events that don’t fit neatly into one category. Once you arrive, feel the sense of community and witness the joyous creative expressions of artists, wellness practitioners and activists, it all makes sense.\u003c/p>\n\u003cp>That goes for the House of Malico’s \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">Alignment Festival\u003c/a>, a celebration of Women’s Month kicking off on March 1. The event features 30 days of programming, including an art exhibit at Qulture Collective, a potluck at Betti Ono Gallery, a creativity-as-healing workshop led by singer Emily McLean and a writing workshop for writers of color with Shah Noor Hussein and Fatima Nasyr. [contextly_sidebar id=”Totg9tbCjJHrAZ2E8Qmt182pUuwM3wDO”]\u003c/p>\n\u003cp>The centerpiece of the Alignment Festival, which centers women and LGBTQ+ people of color, is Twerk 4 Mother Earth on March 16, an annual House of Malico dance party that invites event-goers to let loose and shake it off in a safe space. The goal, Queens D.Light and Sasha Kelley told me ahead of the \u003ca href=\"https://www.eastbayexpress.com/oakland/shake-it-without-shame-at-twerk-4-mother-earth/Content?oid=4940383\" target=\"_blank\" rel=\"noopener\">first T4ME in 2016\u003c/a>, is to promote a consent-based culture of healing through music and dance. [contextly_sidebar id=”X7acCGHVZnQA18tXs83ZP97jpKNELWD1″]\u003c/p>\n\u003cp>“This concept of dance reaffirming your life and being a form of replenishment is something that’s not new,” Queens D. Light said at the time. “It’s something that’s deeply rooted into African culture.”\u003c/p>\n\u003cp>\u003cem>Details on the House of Malico’s Alignment Festival can be found \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/dcTq6gxcLT4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland creative collective \u003ca href=\"http://thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">the House of Malico\u003c/a>—helmed by rapper and filmmaker Queens D.Light (a.k.a. Charmaine Davis) and photographer Sasha Kelley—puts on events that don’t fit neatly into one category. Once you arrive, feel the sense of community and witness the joyous creative expressions of artists, wellness practitioners and activists, it all makes sense.\u003c/p>\n\u003cp>That goes for the House of Malico’s \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">Alignment Festival\u003c/a>, a celebration of Women’s Month kicking off on March 1. The event features 30 days of programming, including an art exhibit at Qulture Collective, a potluck at Betti Ono Gallery, a creativity-as-healing workshop led by singer Emily McLean and a writing workshop for writers of color with Shah Noor Hussein and Fatima Nasyr. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The centerpiece of the Alignment Festival, which centers women and LGBTQ+ people of color, is Twerk 4 Mother Earth on March 16, an annual House of Malico dance party that invites event-goers to let loose and shake it off in a safe space. The goal, Queens D.Light and Sasha Kelley told me ahead of the \u003ca href=\"https://www.eastbayexpress.com/oakland/shake-it-without-shame-at-twerk-4-mother-earth/Content?oid=4940383\" target=\"_blank\" rel=\"noopener\">first T4ME in 2016\u003c/a>, is to promote a consent-based culture of healing through music and dance. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“This concept of dance reaffirming your life and being a form of replenishment is something that’s not new,” Queens D. Light said at the time. “It’s something that’s deeply rooted into African culture.”\u003c/p>\n\u003cp>\u003cem>Details on the House of Malico’s Alignment Festival can be found \u003ca href=\"http://thehouseofmalico.com/alignmentfestival\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "10 Bay Area Artists Not to Miss at Noise Pop 2019",
"headTitle": "10 Bay Area Artists Not to Miss at Noise Pop 2019 | KQED",
"content": "\u003cp>\u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has been around since 1993, when the festival debuted as a $5 indie rock show at the Kennel Club (now the Independent). These days, the week-long, homegrown music showcase features dozens of artists working in a variety of genres, including rap, pop and electronic, and takes place at various venues on both sides of the Bay.\u003c/p>\n\u003cp>The festival kicks off on Feb. 25 and goes through March 3, with multiple shows happening each night. Beyond well-known acts like Beirut, Princess Nokia, Bob Mould and Yuna, we’ve rounded up 10 stellar Bay Area artists not to miss this year.\u003c/p>\n\u003ch2>Pllush\u003c/h2>\n\u003cp>Performing with Miserable, Same Girls and Super Unison.\u003cbr>\n\u003cstrong>Feb. 26, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9866\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3503424820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Pllush emerged from the same fertile indie rock scene that produced standout Bay Area bands like Jay Som and Pardoner. Their 2018 album, \u003cem>Stranger to the Pain \u003c/em>(Father/Daughter Records), moves seamlessly from punchy garage-pop jam “Ortega” to gauzy shoegaze track “Big Train” and downcast post-punk meditation “Restart.” With lyrics about love and heartbreak, delicate harmonies that hit during maximal emotional catharsis and gritty instrumentation worthy of a mosh pit, Pllush’s unpolished, earnest approach has rendered them a band to watch this year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Wizard Apprentice\u003c/h2>\n\u003cp>Performing with Baths, Briana Marela and There’s Talk.\u003cbr>\n\u003cstrong>Feb. 27, Great American Music Hall. Details \u003ca href=\"https://www.eventbrite.com/e/baths-gamh-w-briana-marela-wizard-apprentice-theres-talk-noise-pop-festival-2019-presents-tickets-51730251575?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2838511816/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>You know all the embarrassing feelings of jealousy, insecurity and self-doubt that usually stay between you and your diary or therapist? Wizard Apprentice brings them into the light where listeners can acknowledge them, observe them and then finally let them go. The artist’s 2018 album, \u003cem>I Am Invisible \u003c/em>(Ratskin Records), is a collection of bedroom electronic tracks that are compositionally sparse, yet incredibly rich in their storytelling. Wizard Apprentice’s tracks drop all pretenses and cut straight to the heart of heavy emotional processing.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Rose Droll\u003c/h2>\n\u003cp>Performing with Caroline Rose and Superet.\u003cbr>\n\u003cstrong>Feb. 28, The Independent. Details \u003ca href=\"http://www.ticketfly.com/event/1779484-caroline-rose-san-francisco/?utm_medium=1098158\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Versatile multi-instrumentalist Rose Droll can do a lot with a little, as evinced by her 2018 album \u003cem>Your Dog\u003c/em> (Father/Daughter Records). She mostly composed it in her room on acoustic guitar (and later added piano, glockenspiel and cello in the studio), and cobbled together a unique style of beat-driven folk instrumentation and throaty singing that often lapses into spoken word. \u003cem>Your Dog \u003c/em>made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2018\u003c/a> list on the strength of its inventive approach.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>vverewolf\u003c/h2>\n\u003cp>Performing with Uffie, MPHD and Starfari.\u003cbr>\n\u003cstrong>March 1, The Independent. Details \u003ca href=\"https://www.eventbrite.com/e/uffie-mphd-starfari-vverevvolf-the-independent-tickets-52228742575\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3859730063/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland pop duo vverewolf sound like they were raised on a diet of sugary cereal and Kesha, and they proudly rep their love for bubblegum pop in their work. The sparkling, synth-heavy tracks on their latest EP, \u003cem>Ugh!\u003c/em>, feel like injections of Unicorn Frappuccino straight into the blood stream. Still, there’s an emotional poignancy beneath the saccharine surface, especially on “The Other Side,” a frank, confessional track about depression and substance abuse.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Tia Nomore and Queens D.Light\u003c/h2>\n\u003cp>Performing with Princess Nokia.\u003cbr>\n\u003cstrong>March 2, UC Theatre. Details \u003ca href=\"https://www.ticketfly.com/purchase/event/1795573?utm_medium=1098158&q=cdfa5d18-d78e-4f86-8a80-9f99f7beef2e&p=ac6989c9-999f-49f7-895a-3a9e69985752&ts=1550790229&c=ticketfly&e=003355a&rt=Safetynet&h=94bc9b93f5f0b0cbdcccdd0190fa127a\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1286267833/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=547962662/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2150569020/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Tia NoMore and Queens D.Light are two of the most dynamic voices in the Bay Area rap scene, and they couldn’t be more different. Queens’ dreamy meditations on sex and spirituality are what you want to bump when you’re lighting incense and painting or reading in your room (the perfect vibe for Pisces season, which is now upon us). Tia Nomore, on the other hand, delivers fiery tomboy raps in English and sometimes Japanese, and her penchant for beats with heavy slap recall the likes of Bay Area staples like Mac Dre and Mac Mall.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Lara Sarkissian\u003c/h2>\n\u003cp>Performing with Yves Tumor and Watkins/Peacock.\u003cbr>\n\u003cstrong>March 2, The Chapel. Details \u003ca href=\"https://www.eventbrite.com/e/yves-tumor-lara-sarkissian-watkinspeacock-the-chapel-tickets-52417835156\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1895085439/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Lara Sarkissian is one half of Club Chai, the forward-thinking Oakland party and label that carved out a lane for experimental club music that caters to people who are queer, trans, immigrant, of color—or just appreciate beats that defy genres and borders. On her latest EP, \u003cem>Disruption\u003c/em>, Sarkissian draws from Armenian mythology, transporting it thousands of years into the future through heavily percussive tracks abuzz with textured synths.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Trebuchet\u003c/h2>\n\u003cp>Performing with Ben Morrison of the Brothers Comatose, Andrew St. James and Television Spies.\u003cbr>\n\u003cstrong>March 2, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9868\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Who but Trebuchet’s Elliott Whitehurst could write a fluttering, ethereal folk album about calling off his wedding the night before it was supposed to happen? Throughout Trebuchet’s \u003cem>Volte-Face \u003c/em>(which made our\u003cem> \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2017\u003c/a> list), Whitehurst meditates on a love that he “watched over-ripen” and ultimately chooses to walk away instead of living to please someone else. The resulting record makes poetry from a convoluted situation, with harmonies and string arrangements galore. (However, I’m still waiting for his ex’s version of \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>FR333\u003c/h2>\n\u003cp>Performing with Crumb, Video Age and Idhaz & Rose Cherami.\u003cbr>\n\u003cstrong>March 2, Starline Social Club. Details \u003ca href=\"https://www.eventbrite.com/e/sold-out-crumb-video-age-idhaz-rose-cherami-fr333-starline-social-club-tickets-53612898623?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024213588/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland hip-hop duo FR333’s live shows might start with some ritualistic sage burning and end in a twerk-off, but the core of the performance is always about getting in touch with one’s inner confidence. Raw, vulnerable and sexy, FR333’s work empowers and inspires by looking inward and excavating the emotional depths of spiritual growth and sexuality. Vocalist MADlines (who recently wrote a KQED Arts \u003ca href=\"https://www.kqed.org/arts/13850633/breaking-free-from-toxic-love-madlines-story\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> about self-love and leaving a toxic relationship) captivates with evocative metaphors and raspy inflections, while producer and multi-instrumentalist XOA’s intricate beatmaking creates a luxurious, velvety backdrop.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>The Total Bettys\u003c/h2>\n\u003cp>Performing with Partner, Dude York and Blushh.\u003cbr>\n\u003cstrong>March 3, Cafe du Nord. Details \u003ca href=\"https://www.eventbrite.com/e/partner-dude-york-blushh-the-total-bettys-cafe-du-nord-tickets-50423540166\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3369198218/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breaking up in the queer world means you’ll probably still run into your ex on the patio at El Rio, and that they might remain friends with half of your friends. The Total Bettys have the balm for this particular type of heartache, which they hit on the nose with their tightly composed pop punk album \u003cem>This is Paradise\u003c/em>. With charged-up guitar riffs, a sturdy rhythm section and Maggie Grabmeier’s crestfallen vocals, the Total Bettys feel your angst and channel it on 11.\u003c/p>\n\n",
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"excerpt": "Pllush, Tia NoMore, vverewolf and Wizard Apprentice are on our must-see list this year. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> has been around since 1993, when the festival debuted as a $5 indie rock show at the Kennel Club (now the Independent). These days, the week-long, homegrown music showcase features dozens of artists working in a variety of genres, including rap, pop and electronic, and takes place at various venues on both sides of the Bay.\u003c/p>\n\u003cp>The festival kicks off on Feb. 25 and goes through March 3, with multiple shows happening each night. Beyond well-known acts like Beirut, Princess Nokia, Bob Mould and Yuna, we’ve rounded up 10 stellar Bay Area artists not to miss this year.\u003c/p>\n\u003ch2>Pllush\u003c/h2>\n\u003cp>Performing with Miserable, Same Girls and Super Unison.\u003cbr>\n\u003cstrong>Feb. 26, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9866\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3503424820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Pllush emerged from the same fertile indie rock scene that produced standout Bay Area bands like Jay Som and Pardoner. Their 2018 album, \u003cem>Stranger to the Pain \u003c/em>(Father/Daughter Records), moves seamlessly from punchy garage-pop jam “Ortega” to gauzy shoegaze track “Big Train” and downcast post-punk meditation “Restart.” With lyrics about love and heartbreak, delicate harmonies that hit during maximal emotional catharsis and gritty instrumentation worthy of a mosh pit, Pllush’s unpolished, earnest approach has rendered them a band to watch this year.\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\u003ch2>Wizard Apprentice\u003c/h2>\n\u003cp>Performing with Baths, Briana Marela and There’s Talk.\u003cbr>\n\u003cstrong>Feb. 27, Great American Music Hall. Details \u003ca href=\"https://www.eventbrite.com/e/baths-gamh-w-briana-marela-wizard-apprentice-theres-talk-noise-pop-festival-2019-presents-tickets-51730251575?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2838511816/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>You know all the embarrassing feelings of jealousy, insecurity and self-doubt that usually stay between you and your diary or therapist? Wizard Apprentice brings them into the light where listeners can acknowledge them, observe them and then finally let them go. The artist’s 2018 album, \u003cem>I Am Invisible \u003c/em>(Ratskin Records), is a collection of bedroom electronic tracks that are compositionally sparse, yet incredibly rich in their storytelling. Wizard Apprentice’s tracks drop all pretenses and cut straight to the heart of heavy emotional processing.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Rose Droll\u003c/h2>\n\u003cp>Performing with Caroline Rose and Superet.\u003cbr>\n\u003cstrong>Feb. 28, The Independent. Details \u003ca href=\"http://www.ticketfly.com/event/1779484-caroline-rose-san-francisco/?utm_medium=1098158\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1784071394/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Versatile multi-instrumentalist Rose Droll can do a lot with a little, as evinced by her 2018 album \u003cem>Your Dog\u003c/em> (Father/Daughter Records). She mostly composed it in her room on acoustic guitar (and later added piano, glockenspiel and cello in the studio), and cobbled together a unique style of beat-driven folk instrumentation and throaty singing that often lapses into spoken word. \u003cem>Your Dog \u003c/em>made KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/13847024/the-10-best-bay-area-albums-of-2018-rose-droll-your-dog\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2018\u003c/a> list on the strength of its inventive approach.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>vverewolf\u003c/h2>\n\u003cp>Performing with Uffie, MPHD and Starfari.\u003cbr>\n\u003cstrong>March 1, The Independent. Details \u003ca href=\"https://www.eventbrite.com/e/uffie-mphd-starfari-vverevvolf-the-independent-tickets-52228742575\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3859730063/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland pop duo vverewolf sound like they were raised on a diet of sugary cereal and Kesha, and they proudly rep their love for bubblegum pop in their work. The sparkling, synth-heavy tracks on their latest EP, \u003cem>Ugh!\u003c/em>, feel like injections of Unicorn Frappuccino straight into the blood stream. Still, there’s an emotional poignancy beneath the saccharine surface, especially on “The Other Side,” a frank, confessional track about depression and substance abuse.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Tia Nomore and Queens D.Light\u003c/h2>\n\u003cp>Performing with Princess Nokia.\u003cbr>\n\u003cstrong>March 2, UC Theatre. Details \u003ca href=\"https://www.ticketfly.com/purchase/event/1795573?utm_medium=1098158&q=cdfa5d18-d78e-4f86-8a80-9f99f7beef2e&p=ac6989c9-999f-49f7-895a-3a9e69985752&ts=1550790229&c=ticketfly&e=003355a&rt=Safetynet&h=94bc9b93f5f0b0cbdcccdd0190fa127a\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1286267833/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=547962662/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2150569020/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Tia NoMore and Queens D.Light are two of the most dynamic voices in the Bay Area rap scene, and they couldn’t be more different. Queens’ dreamy meditations on sex and spirituality are what you want to bump when you’re lighting incense and painting or reading in your room (the perfect vibe for Pisces season, which is now upon us). Tia Nomore, on the other hand, delivers fiery tomboy raps in English and sometimes Japanese, and her penchant for beats with heavy slap recall the likes of Bay Area staples like Mac Dre and Mac Mall.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Lara Sarkissian\u003c/h2>\n\u003cp>Performing with Yves Tumor and Watkins/Peacock.\u003cbr>\n\u003cstrong>March 2, The Chapel. Details \u003ca href=\"https://www.eventbrite.com/e/yves-tumor-lara-sarkissian-watkinspeacock-the-chapel-tickets-52417835156\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1895085439/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Lara Sarkissian is one half of Club Chai, the forward-thinking Oakland party and label that carved out a lane for experimental club music that caters to people who are queer, trans, immigrant, of color—or just appreciate beats that defy genres and borders. On her latest EP, \u003cem>Disruption\u003c/em>, Sarkissian draws from Armenian mythology, transporting it thousands of years into the future through heavily percussive tracks abuzz with textured synths.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>Trebuchet\u003c/h2>\n\u003cp>Performing with Ben Morrison of the Brothers Comatose, Andrew St. James and Television Spies.\u003cbr>\n\u003cstrong>March 2, Bottom of the Hill. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/9868\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=49318725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Who but Trebuchet’s Elliott Whitehurst could write a fluttering, ethereal folk album about calling off his wedding the night before it was supposed to happen? Throughout Trebuchet’s \u003cem>Volte-Face \u003c/em>(which made our\u003cem> \u003c/em>\u003ca href=\"https://www.kqed.org/arts/13817309/the-10-best-bay-area-albums-of-2017-trebuchet-volte-face\" target=\"_blank\" rel=\"noopener\">Best Bay Area Albums of 2017\u003c/a> list), Whitehurst meditates on a love that he “watched over-ripen” and ultimately chooses to walk away instead of living to please someone else. The resulting record makes poetry from a convoluted situation, with harmonies and string arrangements galore. (However, I’m still waiting for his ex’s version of \u003cem>Lemonade\u003c/em>.)\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>FR333\u003c/h2>\n\u003cp>Performing with Crumb, Video Age and Idhaz & Rose Cherami.\u003cbr>\n\u003cstrong>March 2, Starline Social Club. Details \u003ca href=\"https://www.eventbrite.com/e/sold-out-crumb-video-age-idhaz-rose-cherami-fr333-starline-social-club-tickets-53612898623?aff=ebdidfdostuff#tickets\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3024213588/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Oakland hip-hop duo FR333’s live shows might start with some ritualistic sage burning and end in a twerk-off, but the core of the performance is always about getting in touch with one’s inner confidence. Raw, vulnerable and sexy, FR333’s work empowers and inspires by looking inward and excavating the emotional depths of spiritual growth and sexuality. Vocalist MADlines (who recently wrote a KQED Arts \u003ca href=\"https://www.kqed.org/arts/13850633/breaking-free-from-toxic-love-madlines-story\" target=\"_blank\" rel=\"noopener\">essay\u003c/a> about self-love and leaving a toxic relationship) captivates with evocative metaphors and raspy inflections, while producer and multi-instrumentalist XOA’s intricate beatmaking creates a luxurious, velvety backdrop.\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>The Total Bettys\u003c/h2>\n\u003cp>Performing with Partner, Dude York and Blushh.\u003cbr>\n\u003cstrong>March 3, Cafe du Nord. Details \u003ca href=\"https://www.eventbrite.com/e/partner-dude-york-blushh-the-total-bettys-cafe-du-nord-tickets-50423540166\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3369198218/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Breaking up in the queer world means you’ll probably still run into your ex on the patio at El Rio, and that they might remain friends with half of your friends. The Total Bettys have the balm for this particular type of heartache, which they hit on the nose with their tightly composed pop punk album \u003cem>This is Paradise\u003c/em>. With charged-up guitar riffs, a sturdy rhythm section and Maggie Grabmeier’s crestfallen vocals, the Total Bettys feel your angst and channel it on 11.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-go-ahead-in-the-rain-the-love-for-a-tribe-called-quest-is-infectious",
"title": "In 'Go Ahead In The Rain,' The Love For A Tribe Called Quest Is Infectious",
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"headTitle": "In ‘Go Ahead In The Rain,’ The Love For A Tribe Called Quest Is Infectious | KQED",
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"content": "\u003cp>Like any good origin story, poet and critic Hanif Abdurraqib’s \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em> begins \u003cem>in the beginning: \u003c/em>“In the beginning, somewhere south of anywhere I come from, lips pressed the edge of a horn…. In the beginning before the beginning, there were drums, and hymns, and a people carried here.”\u003c/p>\n\u003cfigure id=\"attachment_13850148\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13850148 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png\" alt=\"'Go Ahead in the Rain: Notes to a Tribe Called Quest' by Hanif Abdurraqib\" width=\"300\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr-160x218.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Go Ahead in the Rain: Notes to a Tribe Called Quest’ by Hanif Abdurraqib\u003c/figcaption>\u003c/figure>\n\u003cp>Abdurraqib unspools history from here, carrying the reader through centuries of African-American music-making in a capacious few pages that end with the 1990 release of A Tribe Called Quest’s first album, \u003cem>People’s Instinctive Travels and the Paths of Rhythm\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Go Ahead in the Rain \u003c/em>is at once an extended critical essay, a hip-hop history, and a series of love letters to A Tribe Called Quest, and particularly to the group’s two star MCs, Q-Tip and Phife Dawg. In his two previous books, \u003cem>The Crown Ain’t Worth Much \u003c/em>and \u003cem>They Can’t Kill Us Until They Kill Us\u003c/em>, Abdurraqib demonstrated his expertise at compressing massive emotions into minimal space. Here, he takes that skill up yet another notch. He has a seemingly limitless capacity to share what moves him, which means that to read \u003cem>Go Ahead in the Rain\u003c/em>, you don’t need to be a Tribe Called Quest fan: Abdurraqib will make you one. His love for the group is infectious, even when it breaks his heart.\u003c/p>\n\u003cp>[contextly_sidebar id=”mSFh9cXrIsdfUVtAj1opXnxe9aFsfPMl”]\u003c/p>\n\u003cp>The story of A Tribe Called Quest is, from a certain vantage, heartbreaking. From most, it’s mythic. Childhood friends Q-Tip and Phife Dawg began rapping as high schoolers in Queens, using music “as a bridge to each other.” By the time they were 25, they had become one of hip-hop’s greatest groups. They rooted their sound in jazz like few rappers before them, creating a sound that both honored and transformed the past. They were crucial members of the Afrocentric hip-hop collective Native Tongues, and Q-Tip and producer Ali Shaheed Muhammad became two-thirds of The Ummah, a production collective that made songs for Janet Jackson, Whitney Houston, and many more. Meanwhile, their own albums made them undisputed stars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Q-Tip overshadowed Phife Dawg, and tensions between the two rose until 1999, when A Tribe Called Quest released their fifth album and then broke up. When the group reunited in 2016, Phife Dawg was suffering from the diabetes that had long plagued him — on \u003cem>Midnight Marauders\u003c/em>, Tribe’s third album, he rapped, “When’s the last time you heard a funky diabetic?” — and before A Tribe Called Quest’s final album came out, Phife was dead.\u003c/p>\n\u003cp>[contextly_sidebar id=”0mPsHAzxO82dniZHQCvtkMBjwccrfA51″]\u003c/p>\n\u003cp>Abdurraqib does not shy from his sadness over the group’s breakup or Phife Dawg’s death, but \u003cem>Go Ahead in the Rain \u003c/em>is not a sad book. Instead, it’s steeped in gratitude and joy. Abdurraqib celebrates Tribe’s invocation of jazz, their “rap music for our parents and theirs [that] left the door open wide enough for anyone to sneak through.” He weaves his own memories of A Tribe Called Quest with the group’s history, imbuing music history with empathy and locating his past self in music history. A particular standout on that front is the third chapter, in which Abdurraqib moves smoothly from his own teenage friendships to how he imagines it felt to be in Native Tongues. “The thing about Native Tongues,” he concludes, “is that they were like my crew, or potentially your crew. They were uncool enough to define a new type of cool on their own terms… The Native Tongues briefly built a world in which they knew themselves as each other’s people.”\u003c/p>\n\u003cp>\u003cem>Potentially your crew \u003c/em>is the key to that passage, and to Abdurraqib’s critical approach. Without fail or hesitation, he invites the reader into the text. Even his deepest dives into history and technique have a come-with-me spirit. Take his chapter on production, which he roots equally in technique and philosophy. When A Tribe Called Quest emerged, hip-hop beats were made through the painstaking process of sampling other songs’ rhythms and riffs. In \u003cem>Black Noise\u003c/em>, her seminal study of rap music, Tricia Rose used Tribe to demonstrate the power of sampling: “A Tribe Called Quest’s ‘Verses from the Abstract’ features Ron Carter on bass but the hip hop drum lines completely recontextualize Carter’s jazz sound.” To Abdurraqib, Tribe’s production did more than recontextualize. He calls it “the art of resurrection,” and he admires it with all his huge heart. In a letter to Q-Tip, he writes, “I love the sample as you love the sample, Tip — for how it can be extracted from the past and stretched over a sound reaching for the future.”\u003c/p>\n\u003cp>[contextly_sidebar id=”OMS8qNWxkgDsSQcgIZhuO9sFhmyUwzj0″]\u003c/p>\n\u003cp>You don’t need to be a Tribe Called Quest fan to read \u003cem>Go Ahead in the Rain\u003c/em>, and I envy the reader who comes to their music through Abdurraqib’s prose, but this is not (or not only) a book for beginners. I have been listening to A Tribe Called Quest my whole musically conscious life, and yet \u003cem>Go Ahead in the Rain \u003c/em>made their records sound new. Listening to \u003cem>People’s Instinctive Travels \u003c/em>now, I hear the introduction to “After Hours” as a warm cavern of sound. The first bars of “Push It Along” glitter like geodes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This comes from deepened knowledge and understanding, but it also comes from absorbing Abdurraqib’s love, which reinvigorated my own. This, too, is a way of reaching for the future: to write about music so beautifully and intelligently that readers are moved to love it, or reminded to love it more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Go+Ahead+In+The+Rain%2C%27+The+Love+For+A+Tribe+Called+Quest+Is+Infectious&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Author Hanif Abdurraqib has a seemingly limitless capacity to share what moves him and to invite the reader in: His love for these music-makers is contagious, even when it breaks his heart.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any good origin story, poet and critic Hanif Abdurraqib’s \u003cem>Go Ahead in the Rain: Notes to a Tribe Called Quest\u003c/em> begins \u003cem>in the beginning: \u003c/em>“In the beginning, somewhere south of anywhere I come from, lips pressed the edge of a horn…. In the beginning before the beginning, there were drums, and hymns, and a people carried here.”\u003c/p>\n\u003cfigure id=\"attachment_13850148\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13850148 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png\" alt=\"'Go Ahead in the Rain: Notes to a Tribe Called Quest' by Hanif Abdurraqib\" width=\"300\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/abdurraqib_7200_cvr-160x218.png 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Go Ahead in the Rain: Notes to a Tribe Called Quest’ by Hanif Abdurraqib\u003c/figcaption>\u003c/figure>\n\u003cp>Abdurraqib unspools history from here, carrying the reader through centuries of African-American music-making in a capacious few pages that end with the 1990 release of A Tribe Called Quest’s first album, \u003cem>People’s Instinctive Travels and the Paths of Rhythm\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Go Ahead in the Rain \u003c/em>is at once an extended critical essay, a hip-hop history, and a series of love letters to A Tribe Called Quest, and particularly to the group’s two star MCs, Q-Tip and Phife Dawg. In his two previous books, \u003cem>The Crown Ain’t Worth Much \u003c/em>and \u003cem>They Can’t Kill Us Until They Kill Us\u003c/em>, Abdurraqib demonstrated his expertise at compressing massive emotions into minimal space. Here, he takes that skill up yet another notch. He has a seemingly limitless capacity to share what moves him, which means that to read \u003cem>Go Ahead in the Rain\u003c/em>, you don’t need to be a Tribe Called Quest fan: Abdurraqib will make you one. His love for the group is infectious, even when it breaks his heart.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The story of A Tribe Called Quest is, from a certain vantage, heartbreaking. From most, it’s mythic. Childhood friends Q-Tip and Phife Dawg began rapping as high schoolers in Queens, using music “as a bridge to each other.” By the time they were 25, they had become one of hip-hop’s greatest groups. They rooted their sound in jazz like few rappers before them, creating a sound that both honored and transformed the past. They were crucial members of the Afrocentric hip-hop collective Native Tongues, and Q-Tip and producer Ali Shaheed Muhammad became two-thirds of The Ummah, a production collective that made songs for Janet Jackson, Whitney Houston, and many more. Meanwhile, their own albums made them undisputed stars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Q-Tip overshadowed Phife Dawg, and tensions between the two rose until 1999, when A Tribe Called Quest released their fifth album and then broke up. When the group reunited in 2016, Phife Dawg was suffering from the diabetes that had long plagued him — on \u003cem>Midnight Marauders\u003c/em>, Tribe’s third album, he rapped, “When’s the last time you heard a funky diabetic?” — and before A Tribe Called Quest’s final album came out, Phife was dead.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Abdurraqib does not shy from his sadness over the group’s breakup or Phife Dawg’s death, but \u003cem>Go Ahead in the Rain \u003c/em>is not a sad book. Instead, it’s steeped in gratitude and joy. Abdurraqib celebrates Tribe’s invocation of jazz, their “rap music for our parents and theirs [that] left the door open wide enough for anyone to sneak through.” He weaves his own memories of A Tribe Called Quest with the group’s history, imbuing music history with empathy and locating his past self in music history. A particular standout on that front is the third chapter, in which Abdurraqib moves smoothly from his own teenage friendships to how he imagines it felt to be in Native Tongues. “The thing about Native Tongues,” he concludes, “is that they were like my crew, or potentially your crew. They were uncool enough to define a new type of cool on their own terms… The Native Tongues briefly built a world in which they knew themselves as each other’s people.”\u003c/p>\n\u003cp>\u003cem>Potentially your crew \u003c/em>is the key to that passage, and to Abdurraqib’s critical approach. Without fail or hesitation, he invites the reader into the text. Even his deepest dives into history and technique have a come-with-me spirit. Take his chapter on production, which he roots equally in technique and philosophy. When A Tribe Called Quest emerged, hip-hop beats were made through the painstaking process of sampling other songs’ rhythms and riffs. In \u003cem>Black Noise\u003c/em>, her seminal study of rap music, Tricia Rose used Tribe to demonstrate the power of sampling: “A Tribe Called Quest’s ‘Verses from the Abstract’ features Ron Carter on bass but the hip hop drum lines completely recontextualize Carter’s jazz sound.” To Abdurraqib, Tribe’s production did more than recontextualize. He calls it “the art of resurrection,” and he admires it with all his huge heart. In a letter to Q-Tip, he writes, “I love the sample as you love the sample, Tip — for how it can be extracted from the past and stretched over a sound reaching for the future.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>You don’t need to be a Tribe Called Quest fan to read \u003cem>Go Ahead in the Rain\u003c/em>, and I envy the reader who comes to their music through Abdurraqib’s prose, but this is not (or not only) a book for beginners. I have been listening to A Tribe Called Quest my whole musically conscious life, and yet \u003cem>Go Ahead in the Rain \u003c/em>made their records sound new. Listening to \u003cem>People’s Instinctive Travels \u003c/em>now, I hear the introduction to “After Hours” as a warm cavern of sound. The first bars of “Push It Along” glitter like geodes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This comes from deepened knowledge and understanding, but it also comes from absorbing Abdurraqib’s love, which reinvigorated my own. This, too, is a way of reaching for the future: to write about music so beautifully and intelligently that readers are moved to love it, or reminded to love it more.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Go+Ahead+In+The+Rain%2C%27+The+Love+For+A+Tribe+Called+Quest+Is+Infectious&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ve always felt like chasing the bag is an endless pursuit. And evidently, I’m not alone.\u003c/p>\n\u003cp>Oakland hip-hop collective \u003ca href=\"https://www.instagram.com/lofiction/?hl=en\" target=\"_blank\" rel=\"noopener\">Lo-Fiction\u003c/a>‘s new video, “\u003ca href=\"https://www.youtube.com/watch?v=47wQA1GuHvc&feature=youtu.be\">Nike Check\u003c/a>,” illustrates the permanent pursuit of the purse. As a canvas bag of money floats through the streets, the group’s seven members race after it, always out of reach. It’s simple and effective, and the best part: it didn’t cost them too much to make.\u003c/p>\n\u003cp>“We got a sack, some string from my grandma’s sewing kit, and tied it to my girlfriend’s car,” Nimsins, one of the group’s MCs, told me during a phone call. “We just wanted to make it realistic, and do what we normally do.”\u003c/p>\n\u003cp>Maybe that’s what caught my eye—it’s kind of normal. It also looks like it was fun to make. As Nimsins said, “We put the filmmaker in the trunk, and we made it work.”\u003c/p>\n\u003cp>https://youtu.be/47wQA1GuHvc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ericbui/\">Eric Bui\u003c/a>, the filmmaker in the trunk, is originally from Tracy. He’s lived in Oakland for about four years, during which he’s worked with Nimsins on a couple of videos.\u003c/p>\n\u003cp>“I’m happy they came up this idea,” Bui told me during a phone call. “It’s a reality, especially within the music industry—and they’re making light of it. They’re making fun of it while doing it: literally chasing the bag.”\u003c/p>\n\u003cp>Due to having so many takes, the video was a workout for Lo-Fiction, who ran on and off for several hours. Bui, at 25 years old, is just a bit older than the Lo-Fiction crew—the members are all in their early 20s—but he’s appreciated seeing their growth.\u003c/p>\n\u003cp>“Shout out and respect to those kids,” Bui tells me. “I respect their craft, their sound and their whole aesthetic,” noting that their sampling, beats and structure as a collective are reminiscent of another East Oakland group—Hieroglyphics.\u003c/p>\n\u003cfigure id=\"attachment_13850024\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850024\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/IMG_1203-800x449.jpg\" alt=\"The bag we all chase. (Screen grab from the Nike Check video)\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">The bag we all chase. (Screen grab from the Nike Check video)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with Nimsins, the group consists of Keese Sama, SemCity Chris, Esosa, Jafari, Giahni, and Jamal. About a year ago they released a cassette mixtape, \u003cem>Lo-Fiction and Friends Vol. 1\u003c/em>, and last month they sidestepped conventional nightclubs for \u003ca href=\"https://www.instagram.com/p/BstlZ9RFhu2/\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> at Berkeley punk warehouse 924 Gilman. All of them grew up together, mostly in East Oakland’s Seminary neighborhood; Sem-City, as some call it.\u003c/p>\n\u003cp>“Every time we shoot videos, we just see people we know, and people just jump in the video,” Nimsins said. “Something about East Oakland, people don’t do a lot of filming out here. People were just jumping in, and driving the cars behind us. Little kids even got in it!”\u003c/p>\n\u003cp>Before he got off the phone, Nimsins told me that although the video has a relatively low view count thus far, the support from friends and family has been great.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The way I see it, it has the potential to go a lot further—because while the video is hella local, the concept is truly universal.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ericbui/\">Eric Bui\u003c/a>, the filmmaker in the trunk, is originally from Tracy. He’s lived in Oakland for about four years, during which he’s worked with Nimsins on a couple of videos.\u003c/p>\n\u003cp>“I’m happy they came up this idea,” Bui told me during a phone call. “It’s a reality, especially within the music industry—and they’re making light of it. They’re making fun of it while doing it: literally chasing the bag.”\u003c/p>\n\u003cp>Due to having so many takes, the video was a workout for Lo-Fiction, who ran on and off for several hours. Bui, at 25 years old, is just a bit older than the Lo-Fiction crew—the members are all in their early 20s—but he’s appreciated seeing their growth.\u003c/p>\n\u003cp>“Shout out and respect to those kids,” Bui tells me. “I respect their craft, their sound and their whole aesthetic,” noting that their sampling, beats and structure as a collective are reminiscent of another East Oakland group—Hieroglyphics.\u003c/p>\n\u003cfigure id=\"attachment_13850024\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850024\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/IMG_1203-800x449.jpg\" alt=\"The bag we all chase. (Screen grab from the Nike Check video)\" width=\"800\" height=\"449\">\u003cfigcaption class=\"wp-caption-text\">The bag we all chase. (Screen grab from the Nike Check video)\u003c/figcaption>\u003c/figure>\n\u003cp>Along with Nimsins, the group consists of Keese Sama, SemCity Chris, Esosa, Jafari, Giahni, and Jamal. About a year ago they released a cassette mixtape, \u003cem>Lo-Fiction and Friends Vol. 1\u003c/em>, and last month they sidestepped conventional nightclubs for \u003ca href=\"https://www.instagram.com/p/BstlZ9RFhu2/\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> at Berkeley punk warehouse 924 Gilman. All of them grew up together, mostly in East Oakland’s Seminary neighborhood; Sem-City, as some call it.\u003c/p>\n\u003cp>“Every time we shoot videos, we just see people we know, and people just jump in the video,” Nimsins said. “Something about East Oakland, people don’t do a lot of filming out here. People were just jumping in, and driving the cars behind us. Little kids even got in it!”\u003c/p>\n\u003cp>Before he got off the phone, Nimsins told me that although the video has a relatively low view count thus far, the support from friends and family has been great.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The way I see it, it has the potential to go a lot further—because while the video is hella local, the concept is truly universal.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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