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"content": "\u003cp>Last time the rap festival Rolling Loud came to the Bay Area, it didn’t go off without a hitch. Local rap fans \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/1006962099254276096\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> the \u003ca href=\"http://www.xxlmag.com/news/2017/08/travis-scott-lil-wayne-headline-2017-rolling-loud-bay-area/\" target=\"_blank\" rel=\"noopener\">festival’s booking\u003c/a>, which included few local artists. And A Boogie Wit a Hoodie and his entourage \u003ca href=\"http://www.thefader.com/2017/10/21/lil-b-jumped-at-rolling-loud\" target=\"_blank\" rel=\"noopener\">allegedly jumped beloved Bay Area rapper Lil B\u003c/a> in an altercation backstage; Lil B canceled his set, and told the audience that his equipment was stolen in the fight.\u003c/p>\n\u003cp>Although Rolling Loud organizers didn’t return KQED’s request for comment about the Lil B situation last year when we reached out to their publicist, it seems that they’ve taken the feedback about local talent into account for the festival’s 2018 return to the Bay Area.\u003c/p>\n\u003cp>This year’s Rolling Loud takes place at the Oakland Coliseum on Sept. 15–16. In addition to headlining sets by Wiz Khalifa, Rae Sremmurd and Travis Scott, the lineup includes many notable locals. Established OGs E-40 and Berner made the bill, as well as exciting up-and-comers from the Bay Area and Sacramento, including “Icy Girl” rapper Saweetie; buzzed-about East Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">Allblack\u003c/a>; “Scamboy” rapper and internet comedian \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">Guapdad4000\u003c/a>; Oakland’s reigning rap queen \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>; Sacramento’s Mozzy, who was featured on the \u003cem>Black Panther\u003c/em> soundtrack; and more.\u003c/p>\n\u003cp>Check out the full lineup below. Tickets go on sale July 20.\u003c/p>\n\u003cp>https://twitter.com/RollingLoud/status/1019699658233450496\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last time the rap festival Rolling Loud came to the Bay Area, it didn’t go off without a hitch. Local rap fans \u003ca href=\"https://twitter.com/Lefebvre_Sam/status/1006962099254276096\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> the \u003ca href=\"http://www.xxlmag.com/news/2017/08/travis-scott-lil-wayne-headline-2017-rolling-loud-bay-area/\" target=\"_blank\" rel=\"noopener\">festival’s booking\u003c/a>, which included few local artists. And A Boogie Wit a Hoodie and his entourage \u003ca href=\"http://www.thefader.com/2017/10/21/lil-b-jumped-at-rolling-loud\" target=\"_blank\" rel=\"noopener\">allegedly jumped beloved Bay Area rapper Lil B\u003c/a> in an altercation backstage; Lil B canceled his set, and told the audience that his equipment was stolen in the fight.\u003c/p>\n\u003cp>Although Rolling Loud organizers didn’t return KQED’s request for comment about the Lil B situation last year when we reached out to their publicist, it seems that they’ve taken the feedback about local talent into account for the festival’s 2018 return to the Bay Area.\u003c/p>\n\u003cp>This year’s Rolling Loud takes place at the Oakland Coliseum on Sept. 15–16. In addition to headlining sets by Wiz Khalifa, Rae Sremmurd and Travis Scott, the lineup includes many notable locals. Established OGs E-40 and Berner made the bill, as well as exciting up-and-comers from the Bay Area and Sacramento, including “Icy Girl” rapper Saweetie; buzzed-about East Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">Allblack\u003c/a>; “Scamboy” rapper and internet comedian \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">Guapdad4000\u003c/a>; Oakland’s reigning rap queen \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>; Sacramento’s Mozzy, who was featured on the \u003cem>Black Panther\u003c/em> soundtrack; and more.\u003c/p>\n\u003cp>Check out the full lineup below. Tickets go on sale July 20.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar",
"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n",
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"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True | KQED",
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"headline": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A Philadelphia judge has denied Meek Mill’s petition for a new trial in his decade-old drug and gun convictions despite support for the request by the district attorney’s office.\u003c/p>\n\u003cp>The rapper’s attorneys cited credibility issues with a police officer who testified in his case. District Attorney Larry Krasner’s office agreed to the new trial, saying it had no confidence in the officer’s testimony.\u003c/p>\n\u003cp>Judge Genece Brinkley said in an opinion Monday that Mill had not met his burden of proof in questioning the officer’s credibility.\u003c/p>\n\u003cp>A different Philadelphia judge has granted new trials in at least three other cases involving the officer’s testimony.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to 2 to 4 years in prison for violating probation. Mill served five months before the state Supreme Court ordered his release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Philadelphia judge has denied Meek Mill’s petition for a new trial in his decade-old drug and gun convictions despite support for the request by the district attorney’s office.\u003c/p>\n\u003cp>The rapper’s attorneys cited credibility issues with a police officer who testified in his case. District Attorney Larry Krasner’s office agreed to the new trial, saying it had no confidence in the officer’s testimony.\u003c/p>\n\u003cp>Judge Genece Brinkley said in an opinion Monday that Mill had not met his burden of proof in questioning the officer’s credibility.\u003c/p>\n\u003cp>A different Philadelphia judge has granted new trials in at least three other cases involving the officer’s testimony.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to 2 to 4 years in prison for violating probation. Mill served five months before the state Supreme Court ordered his release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With Latest Album, Equipto Calls Out Housing Crisis and Gentrification",
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"content": "\u003cp>A lot has happened in Ilyich Yasuchi Sato’s world since he galvanized the \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco 5\u003c/a> hunger strike against police brutality in 2016.\u003c/p>\n\u003cp>The San Francisco rapper, better known as Equipto, has continued his relentless fight for social justice—and not just on wax, but in the streets. In October 2017, he led a \u003ca href=\"http://eltecolote.org/content/en/features/six-months-after-sacramento-march-against-police-violence-search-for-justice-continues/\" target=\"_blank\" rel=\"noopener noreferrer\">14-day, 95-mile march\u003c/a> from San Francisco to Sacramento to pressure California Attorney General Xavier Becerra to prosecute the officers who shot and killed civilians Alex Nieto, Mario Woods, Amilcar Perez-Lopez, Luis Gongora-Pat, Jessica Williams, Kenneth Harding Jr. and Derrick Gaines. Again and again, Equipto has demonstrated his willingness to put his comfort and safety on the line for his beliefs.\u003c/p>\n\u003cp>In the midst of his activism, Equipto also took the time to record new music. This time around, the veteran rapper got together with other San Francisco artists to form a new group called The Watershed. The Watershed features Baghead, Professa Gabel, Mcstravick, Brycon, MC Pauze and Monk HTS—rappers and producers with deep roots in San Francisco’s underground hip-hop scene. Their self-titled May album is “an open letter about our love and hate with the city, and a way to honor hip-hop culture,” Equipto says.\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=2981912578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://the-watershed-415.bandcamp.com/album/equipto-brycon-present-the-watershed\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Hella San Francisco” is a perfect example of that love-hate relationship. It shines a light on how gentrification has altered the city’s demographics, displacing many lower-income people of color. “Take a walk past Valencia, even up Guerrero / Anymore you can’t even recognize Divisadero / So the people and the city are supposed to sit back and tolerate it? / They build a system where they got us all dollar chasin’,” rhymes Equipto over a smooth, tambourine-driven break beat laced with funky guitar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album also touches on controversial subjects like the housing crisis. The track “Timmy the Wino” pays homage to a down-and-out veteran Equipto once knew. “It’s a true story in a sense,” he says. “Timothy used to live off 16th and Valencia before Valencia got gentrified. It’s a song that we wanted to embody and let people know that this is part of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13835687\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg\" alt=\"\" width=\"750\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-240x204.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-520x441.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Watershed. \u003ccite>(Courtesy of Equipto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Equipto laments: “The people you shun or think they are nobodies, these are actually people of San Francisco, and they make the city.”\u003c/p>\n\u003cp>My conversation with Equipto coincides with the announcement of London Breed’s victory in the San Francisco mayoral race, and it’s impossible to talk to the rapper about The Watershed and not include politics in the conversation. Equipto is one of Breed’s most fervent critics, despite her being a San Francisco native and the city’s first black, female mayor—a selling point for many voters.\u003c/p>\n\u003cp>Equipto talks at length about propaganda in politics, and how we, as people of color, are conditioned to believe that we have to support a candidate simply because they are also of color. \u003cspan style=\"font-weight: 400\">“I can imagine what she went through as a woman of color growing up in the Fillmore, so I have nothing but respect for her on that level,” Equipto concedes.\u003c/span>\u003c/p>\n\u003cp>But he points out that in 2014, when Breed was District 5 supervisor, she \u003ca href=\"http://sfappeal.com/2014/12/supes-vote-down-police-brutality-resolution/\" target=\"_blank\" rel=\"noopener noreferrer\">voted against a resolution\u003c/a> to recognize racial bias in police departments, calling the post-Ferguson resolution “divisive.” Indeed, Breed also refused to call on former Police Chief Greg Suhr to resign after a racist texting scandal and several police shootings, and \u003ca href=\"https://48hills.org/2016/09/15879/\" target=\"_blank\" rel=\"noopener noreferrer\">failed to attend meetings\u003c/a> with African American residents facing displacement in her district during her campaign.\u003c/p>\n\u003cp>“Her voting is documented history,” says Equipto.\u003c/p>\n\u003cp>The Watershed are starting to hit stages across the Bay Area to promote their album and its underlying message of people power. On June 24, they’re slated to perform at The Uptown in Oakland for Housing Oakland Now, a fundraiser for the \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> and The Village, two grassroots groups building shelters and providing services for Oakland’s homeless residents. Local hip-hop stars like Mistah F.A.B., Gift of Gab of Blackalicious and DJ Davey D are on the bill, along with cumbia band La Misa Negra.\u003c/p>\n\u003cp>The show was originally slated for The New Parish, but last Thursday, \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>East Bay Express\u003c/em> reported\u003c/a> that Jason Perkins of Parish Entertainment Group allegedly harassed homeless residents in San Francisco near his other venue, Brick & Mortar Music Hall. After conflicting information appeared as to whether Perkins still had ties to The New Parish, The East Oakland Collective decided to switch venues.\u003c/p>\n\u003cp>Equipto is not letting this controversy derail his purpose. “We need brothers and sisters that are artists with well known platforms to lock arms with frontliners,” he says. “It’s the time to stand up when you have such a strong influence.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Equipto and The Watershed perform at Housing Oakland Now on June 24. Details \u003ca href=\"https://www.facebook.com/events/631064693912361/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot has happened in Ilyich Yasuchi Sato’s world since he galvanized the \u003ca href=\"https://www.kqed.org/arts/11537324/equiptos-hunger-strike-the-importance-of-art-in-social-change\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco 5\u003c/a> hunger strike against police brutality in 2016.\u003c/p>\n\u003cp>The San Francisco rapper, better known as Equipto, has continued his relentless fight for social justice—and not just on wax, but in the streets. In October 2017, he led a \u003ca href=\"http://eltecolote.org/content/en/features/six-months-after-sacramento-march-against-police-violence-search-for-justice-continues/\" target=\"_blank\" rel=\"noopener noreferrer\">14-day, 95-mile march\u003c/a> from San Francisco to Sacramento to pressure California Attorney General Xavier Becerra to prosecute the officers who shot and killed civilians Alex Nieto, Mario Woods, Amilcar Perez-Lopez, Luis Gongora-Pat, Jessica Williams, Kenneth Harding Jr. and Derrick Gaines. Again and again, Equipto has demonstrated his willingness to put his comfort and safety on the line for his beliefs.\u003c/p>\n\u003cp>In the midst of his activism, Equipto also took the time to record new music. This time around, the veteran rapper got together with other San Francisco artists to form a new group called The Watershed. The Watershed features Baghead, Professa Gabel, Mcstravick, Brycon, MC Pauze and Monk HTS—rappers and producers with deep roots in San Francisco’s underground hip-hop scene. Their self-titled May album is “an open letter about our love and hate with the city, and a way to honor hip-hop culture,” Equipto says.\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=2981912578/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://the-watershed-415.bandcamp.com/album/equipto-brycon-present-the-watershed\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Hella San Francisco” is a perfect example of that love-hate relationship. It shines a light on how gentrification has altered the city’s demographics, displacing many lower-income people of color. “Take a walk past Valencia, even up Guerrero / Anymore you can’t even recognize Divisadero / So the people and the city are supposed to sit back and tolerate it? / They build a system where they got us all dollar chasin’,” rhymes Equipto over a smooth, tambourine-driven break beat laced with funky guitar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album also touches on controversial subjects like the housing crisis. The track “Timmy the Wino” pays homage to a down-and-out veteran Equipto once knew. “It’s a true story in a sense,” he says. “Timothy used to live off 16th and Valencia before Valencia got gentrified. It’s a song that we wanted to embody and let people know that this is part of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13835687\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg\" alt=\"\" width=\"750\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-240x204.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Watershed-520x441.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The Watershed. \u003ccite>(Courtesy of Equipto)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Equipto laments: “The people you shun or think they are nobodies, these are actually people of San Francisco, and they make the city.”\u003c/p>\n\u003cp>My conversation with Equipto coincides with the announcement of London Breed’s victory in the San Francisco mayoral race, and it’s impossible to talk to the rapper about The Watershed and not include politics in the conversation. Equipto is one of Breed’s most fervent critics, despite her being a San Francisco native and the city’s first black, female mayor—a selling point for many voters.\u003c/p>\n\u003cp>Equipto talks at length about propaganda in politics, and how we, as people of color, are conditioned to believe that we have to support a candidate simply because they are also of color. \u003cspan style=\"font-weight: 400\">“I can imagine what she went through as a woman of color growing up in the Fillmore, so I have nothing but respect for her on that level,” Equipto concedes.\u003c/span>\u003c/p>\n\u003cp>But he points out that in 2014, when Breed was District 5 supervisor, she \u003ca href=\"http://sfappeal.com/2014/12/supes-vote-down-police-brutality-resolution/\" target=\"_blank\" rel=\"noopener noreferrer\">voted against a resolution\u003c/a> to recognize racial bias in police departments, calling the post-Ferguson resolution “divisive.” Indeed, Breed also refused to call on former Police Chief Greg Suhr to resign after a racist texting scandal and several police shootings, and \u003ca href=\"https://48hills.org/2016/09/15879/\" target=\"_blank\" rel=\"noopener noreferrer\">failed to attend meetings\u003c/a> with African American residents facing displacement in her district during her campaign.\u003c/p>\n\u003cp>“Her voting is documented history,” says Equipto.\u003c/p>\n\u003cp>The Watershed are starting to hit stages across the Bay Area to promote their album and its underlying message of people power. On June 24, they’re slated to perform at The Uptown in Oakland for Housing Oakland Now, a fundraiser for the \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> and The Village, two grassroots groups building shelters and providing services for Oakland’s homeless residents. Local hip-hop stars like Mistah F.A.B., Gift of Gab of Blackalicious and DJ Davey D are on the bill, along with cumbia band La Misa Negra.\u003c/p>\n\u003cp>The show was originally slated for The New Parish, but last Thursday, \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>East Bay Express\u003c/em> reported\u003c/a> that Jason Perkins of Parish Entertainment Group allegedly harassed homeless residents in San Francisco near his other venue, Brick & Mortar Music Hall. After conflicting information appeared as to whether Perkins still had ties to The New Parish, The East Oakland Collective decided to switch venues.\u003c/p>\n\u003cp>Equipto is not letting this controversy derail his purpose. “We need brothers and sisters that are artists with well known platforms to lock arms with frontliners,” he says. “It’s the time to stand up when you have such a strong influence.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Equipto and The Watershed perform at Housing Oakland Now on June 24. Details \u003ca href=\"https://www.facebook.com/events/631064693912361/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Pennsylvania judge said Monday she’ll rule in “due time” after an evidence hearing to determine whether rapper Meek Mill should get a new trial in his decade-old gun and drug convictions.\u003c/p>\n\u003cp>Mill’s attorneys have asked for a new trial based on credibility issues with former Philadelphia police officer Reginald Graham, who was pivotal in his arrest in 2007 and who testified at his trial. The Philadelphia district attorney’s office supported the request for a new trial, agreeing before Monday’s hearing that the “Commonwealth does not have confidence in the credibility of Reginald Graham’s testimony in this case.”\u003c/p>\n\u003cp>The attorneys also agreed that another officer who was part of Mill’s original arrest had given credible sworn testimony that contradicted Graham’s. The district attorney’s office also said it had information as early as 2014 related to Graham’s misconduct that was not shared with Mill’s attorneys until this year.\u003c/p>\n\u003cp>Despite the agreement, Judge Genece Brinkley scheduled an evidence hearing and said Monday she needed more time to review evidence that Graham had credibility issues in this case before ruling whether to allow a new trial.\u003c/p>\n\u003cp>A different Philadelphia judge has agreed to overturn convictions in at least three other cases in which Graham gave testimony, all without evidentiary hearings. The district attorney’s office decided not to retry those cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mill’s attorneys said after the two-hour hearing Monday that the interactions with Brinkley were confrontational. One said Brinkley laughed at testimony from an expert witness, and another said her language during the hearing suggested that she had already decided to rule against Mill’s request.\u003c/p>\n\u003cp>The state Supreme Court recently split on a request by Mill’s attorneys to remove Brinkley from his case earlier this month. Three justices said they would grant the request to remove his case from Brinkley, while three others said they would deny it or they had not heard enough to grant the request.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to two to four years in prison for violating probation related to two charges that were dismissed. She found him in technical violation of probation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mill served almost five months of the sentence before the state Supreme Court ordered his release on bond.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mill’s attorneys said after the two-hour hearing Monday that the interactions with Brinkley were confrontational. One said Brinkley laughed at testimony from an expert witness, and another said her language during the hearing suggested that she had already decided to rule against Mill’s request.\u003c/p>\n\u003cp>The state Supreme Court recently split on a request by Mill’s attorneys to remove Brinkley from his case earlier this month. Three justices said they would grant the request to remove his case from Brinkley, while three others said they would deny it or they had not heard enough to grant the request.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to two to four years in prison for violating probation related to two charges that were dismissed. She found him in technical violation of probation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mill served almost five months of the sentence before the state Supreme Court ordered his release on bond.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Janelle Monae to Host 'Dirty Computer' Screening at Feels 6 Art Preview",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Brockhampton, the sprawling L.A. hip-hop collective, has parted ways with core member Ameer Vann over allegations of sexual misconduct and abuse toward women. \u003c/p>\n\u003cp>“Ameer is no longer in BROCKHAMPTON,” the band announced in a statement. “We want to sincerely apologize to the victims affected by Ameer’s actions. We were lied to, and we’re sorry for not speaking up sooner.” \u003c/p>\n\u003cp>Brockhampton has also canceled their remaining U.S. tour dates to “go home and regroup.” \u003c/p>\n\u003cp>https://twitter.com/brckhmptn/status/1000705013747015680\u003c/p>\n\u003cp>Vann had \u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">been accused in May\u003c/a> of being a “predator and cheater” who “has sex with underage/legal [sic] fans” by Twitter user @GIGINOTHADID. Vann was also called “\u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">emotional manipulative [sic] and mentally abusive\u003c/a>” by singer-songwriter Rhett Rowan, who \u003ca href=\"https://twitter.com/rhettrowan/status/995340430970630150\" rel=\"noopener\" target=\"_blank\">accused him of having sex with a minor\u003c/a> prior to dating her in 2015. \u003c/p>\n\u003cfigure id=\"attachment_13832084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9829.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"535\" class=\"size-full wp-image-13832084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly afterward, Vann \u003ca href=\"https://twitter.com/ameervann/status/995418907610525696?lang=en\" rel=\"noopener\" target=\"_blank\">responded on Twitter\u003c/a>: “In response to the claims of emotional and sexual abuse: although my behavior has been selfish, childish, and unkind, I have never criminally harmed anyone or disrespected their boundaries. I have never had relations with a minor or violated anybody’s consent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vann’s departure from the group became heavily rumored when Brockhampton performed without Vann on Sunday in Boston, where the group members stood silent during Vann’s verses, holding their hands together and hugging each other. \u003c/p>\n\u003cp>https://twitter.com/brckhmptnarg/status/1000553918747828224\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brockhampton most recently performed in the Bay Area at the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision festival in Oakland\u003c/a>. Brockhampton’s \u003cem>Saturation\u003c/em> albums from 2017 all feature Vann’s face on the cover. The band has pushed back the release of their upcoming album, \u003cem>Puppy\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Brockhampton, the sprawling L.A. hip-hop collective, has parted ways with core member Ameer Vann over allegations of sexual misconduct and abuse toward women. \u003c/p>\n\u003cp>“Ameer is no longer in BROCKHAMPTON,” the band announced in a statement. “We want to sincerely apologize to the victims affected by Ameer’s actions. We were lied to, and we’re sorry for not speaking up sooner.” \u003c/p>\n\u003cp>Brockhampton has also canceled their remaining U.S. tour dates to “go home and regroup.” \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Vann had \u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">been accused in May\u003c/a> of being a “predator and cheater” who “has sex with underage/legal [sic] fans” by Twitter user @GIGINOTHADID. Vann was also called “\u003ca href=\"https://twitter.com/rhettrowan/status/995338739957288960\" rel=\"noopener\" target=\"_blank\">emotional manipulative [sic] and mentally abusive\u003c/a>” by singer-songwriter Rhett Rowan, who \u003ca href=\"https://twitter.com/rhettrowan/status/995340430970630150\" rel=\"noopener\" target=\"_blank\">accused him of having sex with a minor\u003c/a> prior to dating her in 2015. \u003c/p>\n\u003cfigure id=\"attachment_13832084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9829.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"535\" class=\"size-full wp-image-13832084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9829-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shortly afterward, Vann \u003ca href=\"https://twitter.com/ameervann/status/995418907610525696?lang=en\" rel=\"noopener\" target=\"_blank\">responded on Twitter\u003c/a>: “In response to the claims of emotional and sexual abuse: although my behavior has been selfish, childish, and unkind, I have never criminally harmed anyone or disrespected their boundaries. I have never had relations with a minor or violated anybody’s consent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vann’s departure from the group became heavily rumored when Brockhampton performed without Vann on Sunday in Boston, where the group members stood silent during Vann’s verses, holding their hands together and hugging each other. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Brockhampton most recently performed in the Bay Area at the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision festival in Oakland\u003c/a>. Brockhampton’s \u003cem>Saturation\u003c/em> albums from 2017 all feature Vann’s face on the cover. The band has pushed back the release of their upcoming album, \u003cem>Puppy\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“A lot of men call me a man-basher, but I consider those the guys who really need to listen to me instead of being angry at me,” says \u003ca href=\"https://soundcloud.com/qingqi\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a> (pronounced King Key), taking a break behind her desk in the small office of Horizons Unlimited, a nonprofit that offers job training and support groups to under-served San Francisco youth.\u003c/p>\n\u003cp>In rap and in life, Qing Qi doesn’t censor herself. With her combed-out Afro, giant hoop earrings and visible neck tattoo, she comes to her day job as she is—and gets respect for it. As senior program coordinator, she oversees a cohort of 34 teens, supporting them through job searches, school and life’s ups and downs. In fact, nine years ago, Qing Qi was one of these kids: she came to Horizons after becoming pregnant at 14, and she credits the nonprofit for helping her find stability for herself and her son.\u003c/p>\n\u003cp>Raised in East Palo Alto and based in Oakland, Qing Qi recently rose to local acclaim with her outspoken January mixtape, \u003cem>If a N-ggah Ain’t Sh-t, Play This for his B-tch \u003c/em>(\u003cem>IANASPTFHB\u003c/em>), a 14-track manifesto that airs out resentments about the state of hetero dating in 2018, calling out guys who rely on women for financial support without picking up the slack—emotionally, sexually, domestically or elsewhere.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Zkjdwut_jbI]\u003c/p>\n\u003cp>“When I came up with the idea, I was thinking of my friends,” she says. “The three closest women in my life were with trifflin’ ass dudes, and it made me so mad because men are not necessary. Men are an option. You don’t need a man to be happy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And then when my boyfriend got out of jail and I realized he’s a f-ck n-gga,” she adds, raising her voice in a playfully threatening way, “I had all the passion to put behind the content.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/448702773″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>TLC might have made an anthem about these kinds of men with “No Scrubs” in 1999, but Qing Qi’s mixtape is a whole dissertation: “Running they lips like they trying to be rich/But the work ethic trash, can’t get it without a b-tch,” she fires off on “F-ckn-ggahs.” (PartzUnknown, best known for his work with SOB x RBE, produced the track.) Throughout \u003cem>IANASPTFHB\u003c/em>, Qing Qi tackles the subject of male entitlement with irreverent humor; with features from her girl squad, Pu Tang, the mixtape is full of wisecracks rarely shared outside of the intimacy of gossip sessions with friends.\u003c/p>\n\u003cp>“I think we’re really relatable, and I think that’s missing,” she says of her crew. “And we all are hella different. At my video shoot, two of our Pu Tang members were walking around with bulletproof vests on; three of them were wearing heels.”\u003c/p>\n\u003cfigure id=\"attachment_13832602\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/qing-qi.jpg\" alt=\"Qing Qi's 8 year old son Tooka is her hype man.\" width=\"735\" height=\"1055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-520x746.jpg 520w\" sizes=\"auto, (max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi’s 8 year old son Tooka is her hype man. \u003ccite>(O Banga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the strength of \u003cem>IANASPTFHB\u003c/em>, Qing Qi’s career has been taking off in recent months: she provided main support for “Tomboy” rapper \u003ca href=\"https://noisey.vice.com/en_au/article/ypnpzk/why-princess-nokia-matters-now-more-than-ever\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a> when she headlined 1015 Folsom’s 4/20 party. Qing Qi’s show calendar doesn’t seem to have slowed down since then: this Friday, May 18, she opens for Sacramento’s \u003ca href=\"https://www.ticketweb.com/event/stunna-girl-brick-and-mortar-music-hall-tickets/8331375?pl=brickmortar\" target=\"_blank\" rel=\"noopener\">Stunna Girl at Brick and Mortar Music Hall\u003c/a> in San Francisco, and the following week, she’ll perform at Carnaval San Francisco.\u003c/p>\n\u003cp>The topics Qing Qi raps about rarely get air time in the traditionally masculine space of hip-hop. But with her new role as co-host of \u003ca href=\"https://www.thizzler.com/blog/2018/03/01/thats-my-word-the-bays-hottest-talk-show.html\" target=\"_blank\" rel=\"noopener\">\u003cem>That’s My Word\u003c/em>\u003c/a>, local rap blog Thizzler’s YouTube talk show, Qing Qi brings much-needed balance to the platform’s dude-centric content. She’s not the typically meek female sidekick one might find on \u003cem>The Breakfast Club\u003c/em> and other hip-hop talk shows. A few minutes into an \u003ca href=\"https://www.youtube.com/watch?v=_-Oit7vKSUw\" target=\"_blank\" rel=\"noopener\">episode featuring Philthy Rich\u003c/a>, for example, Rich casually comments that his brother doesn’t like women “who talk too much.” “Damn, well, it’s gonna be a rough interview, then,” Qing Qi retorts without skipping a beat. The tension lasts only for a second, but her subtle cringe is a familiar sight for women who have felt undermined by male colleagues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coming from the world of social justice nonprofits, where women are often a majority in the workplace, Qing Qi says that hosting \u003cem>That’s My Word\u003c/em> was a culture shock at first, but that contending with men’s biases is something she’s come to expect in entertainment. “This is just a test of what’s to come as an artist,” she says with resolve. “I know there are going to be a lot more situations where men are going to talk down to me, or assume I don’t know anything, or antagonize me. I know I just gotta be saucy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A lot of men call me a man-basher, but I consider those the guys who really need to listen to me instead of being angry at me,” says \u003ca href=\"https://soundcloud.com/qingqi\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a> (pronounced King Key), taking a break behind her desk in the small office of Horizons Unlimited, a nonprofit that offers job training and support groups to under-served San Francisco youth.\u003c/p>\n\u003cp>In rap and in life, Qing Qi doesn’t censor herself. With her combed-out Afro, giant hoop earrings and visible neck tattoo, she comes to her day job as she is—and gets respect for it. As senior program coordinator, she oversees a cohort of 34 teens, supporting them through job searches, school and life’s ups and downs. In fact, nine years ago, Qing Qi was one of these kids: she came to Horizons after becoming pregnant at 14, and she credits the nonprofit for helping her find stability for herself and her son.\u003c/p>\n\u003cp>Raised in East Palo Alto and based in Oakland, Qing Qi recently rose to local acclaim with her outspoken January mixtape, \u003cem>If a N-ggah Ain’t Sh-t, Play This for his B-tch \u003c/em>(\u003cem>IANASPTFHB\u003c/em>), a 14-track manifesto that airs out resentments about the state of hetero dating in 2018, calling out guys who rely on women for financial support without picking up the slack—emotionally, sexually, domestically or elsewhere.\u003c/p>\n\u003cp>\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/Zkjdwut_jbI'\n title='//www.youtube.com/embed/Zkjdwut_jbI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I came up with the idea, I was thinking of my friends,” she says. “The three closest women in my life were with trifflin’ ass dudes, and it made me so mad because men are not necessary. Men are an option. You don’t need a man to be happy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then when my boyfriend got out of jail and I realized he’s a f-ck n-gga,” she adds, raising her voice in a playfully threatening way, “I had all the passion to put behind the content.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/448702773″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/448702773″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>TLC might have made an anthem about these kinds of men with “No Scrubs” in 1999, but Qing Qi’s mixtape is a whole dissertation: “Running they lips like they trying to be rich/But the work ethic trash, can’t get it without a b-tch,” she fires off on “F-ckn-ggahs.” (PartzUnknown, best known for his work with SOB x RBE, produced the track.) Throughout \u003cem>IANASPTFHB\u003c/em>, Qing Qi tackles the subject of male entitlement with irreverent humor; with features from her girl squad, Pu Tang, the mixtape is full of wisecracks rarely shared outside of the intimacy of gossip sessions with friends.\u003c/p>\n\u003cp>“I think we’re really relatable, and I think that’s missing,” she says of her crew. “And we all are hella different. At my video shoot, two of our Pu Tang members were walking around with bulletproof vests on; three of them were wearing heels.”\u003c/p>\n\u003cfigure id=\"attachment_13832602\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/qing-qi.jpg\" alt=\"Qing Qi's 8 year old son Tooka is her hype man.\" width=\"735\" height=\"1055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-520x746.jpg 520w\" sizes=\"auto, (max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi’s 8 year old son Tooka is her hype man. \u003ccite>(O Banga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the strength of \u003cem>IANASPTFHB\u003c/em>, Qing Qi’s career has been taking off in recent months: she provided main support for “Tomboy” rapper \u003ca href=\"https://noisey.vice.com/en_au/article/ypnpzk/why-princess-nokia-matters-now-more-than-ever\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a> when she headlined 1015 Folsom’s 4/20 party. Qing Qi’s show calendar doesn’t seem to have slowed down since then: this Friday, May 18, she opens for Sacramento’s \u003ca href=\"https://www.ticketweb.com/event/stunna-girl-brick-and-mortar-music-hall-tickets/8331375?pl=brickmortar\" target=\"_blank\" rel=\"noopener\">Stunna Girl at Brick and Mortar Music Hall\u003c/a> in San Francisco, and the following week, she’ll perform at Carnaval San Francisco.\u003c/p>\n\u003cp>The topics Qing Qi raps about rarely get air time in the traditionally masculine space of hip-hop. But with her new role as co-host of \u003ca href=\"https://www.thizzler.com/blog/2018/03/01/thats-my-word-the-bays-hottest-talk-show.html\" target=\"_blank\" rel=\"noopener\">\u003cem>That’s My Word\u003c/em>\u003c/a>, local rap blog Thizzler’s YouTube talk show, Qing Qi brings much-needed balance to the platform’s dude-centric content. She’s not the typically meek female sidekick one might find on \u003cem>The Breakfast Club\u003c/em> and other hip-hop talk shows. A few minutes into an \u003ca href=\"https://www.youtube.com/watch?v=_-Oit7vKSUw\" target=\"_blank\" rel=\"noopener\">episode featuring Philthy Rich\u003c/a>, for example, Rich casually comments that his brother doesn’t like women “who talk too much.” “Damn, well, it’s gonna be a rough interview, then,” Qing Qi retorts without skipping a beat. The tension lasts only for a second, but her subtle cringe is a familiar sight for women who have felt undermined by male colleagues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coming from the world of social justice nonprofits, where women are often a majority in the workplace, Qing Qi says that hosting \u003cem>That’s My Word\u003c/em> was a culture shock at first, but that contending with men’s biases is something she’s come to expect in entertainment. “This is just a test of what’s to come as an artist,” she says with resolve. “I know there are going to be a lot more situations where men are going to talk down to me, or assume I don’t know anything, or antagonize me. I know I just gotta be saucy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Full Treasure Island 2018 Lineup: Tame Impala, A$AP Rocky, Diplo, More",
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"content": "\u003cp>The Treasure Island Musical Festival lineup has arrived.\u003c/p>\n\u003cp>After taking a year off in 2017, the Treasure Island Music Festival this week announced its return on Oct. 13-14, 2018 — this time, not to its namesake location, but at \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">Middle Harbor Shoreline Park in Oakland\u003c/a>.\u003c/p>\n\u003cp>Now, just a day later, festival promoters Noise Pop and Another Planet Entertainment have announced the complete lineup, featuring psychedelic indie rockers Tame Impala and rapper A$AP Rocky as headliners. Other acts to look forward to include Pusha T; electro-pop singer Santigold; rapidly rising bedroom pop artist Soccer Mommy; and Silk City, a production duo of Diplo and Mark Ronson.\u003c/p>\n\u003cp>Two-day tickets go on sale this Friday, May 18, at noon. \u003ca href=\"https://www.treasureislandfestival.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Full Lineup: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tame Impala\u003cbr>\nA$AP Rocky\u003cbr>\nSilk City (Diplo & Mark Ronson)\u003cbr>\nLord Huron\u003cbr>\nSantigold\u003cbr>\nCourtney Barnett\u003cbr>\nJungle\u003cbr>\nPusha T\u003cbr>\nSharon Van Etten\u003cbr>\nAminé\u003cbr>\nCigarettes After Sex\u003cbr>\nHiatus Kaiyote\u003cbr>\nLaff Trax (Toro y Moi & Nosaj Thing)\u003cbr>\nU.S. Girls\u003cbr>\nPolo & Pan\u003cbr>\nMoses Sumney\u003cbr>\nAlex Cameron\u003cbr>\nPolo & Pan\u003cbr>\nPond\u003cbr>\nShame\u003cbr>\nGeorge Fitzgerald\u003cbr>\nSoccer Mommy\u003cbr>\nserpentwithfeet\u003cbr>\nJPEGMAFIA\u003cbr>\nGilligan Moss\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Treasure Island Musical Festival lineup has arrived.\u003c/p>\n\u003cp>After taking a year off in 2017, the Treasure Island Music Festival this week announced its return on Oct. 13-14, 2018 — this time, not to its namesake location, but at \u003ca href=\"https://www.kqed.org/arts/13832219/treasure-island-music-festival-to-return-relocate-to-oakland-shore-in-2018\" target=\"_blank\" rel=\"noopener\">Middle Harbor Shoreline Park in Oakland\u003c/a>.\u003c/p>\n\u003cp>Now, just a day later, festival promoters Noise Pop and Another Planet Entertainment have announced the complete lineup, featuring psychedelic indie rockers Tame Impala and rapper A$AP Rocky as headliners. Other acts to look forward to include Pusha T; electro-pop singer Santigold; rapidly rising bedroom pop artist Soccer Mommy; and Silk City, a production duo of Diplo and Mark Ronson.\u003c/p>\n\u003cp>Two-day tickets go on sale this Friday, May 18, at noon. \u003ca href=\"https://www.treasureislandfestival.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Full Lineup: \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'This Is America' Earns Donald Glover His First No. 1 Hit",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\u003c/p>\n\u003cp>https://youtu.be/VYOjWnS4cMY\u003c/p>\n\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\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/VYOjWnS4cMY'\n title='//www.youtube.com/embed/VYOjWnS4cMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "SZA, Brockhampton, Kamaiyah Bring Blurry Vision Into Focus in Oakland",
"headTitle": "SZA, Brockhampton, Kamaiyah Bring Blurry Vision Into Focus in Oakland | KQED",
"content": "\u003cp>The Blurry Vision music festival made an impressive debut in Oakland this weekend, bringing SZA, Migos, Anderson .Paak and Brockhampton and more to Middle Harbor Shoreline Park, a hidden gem at the Port of Oakland. With its picturesque views of shipping cranes, the Bay Bridge and the San Francisco skyline, the park provided a scenic backdrop for the festival, which featured 21 performers over two days, including some of rap and R&B’s brightest stars.\u003c/p>\n\u003cp>Despite Oakland’s wealth of talent, the booking largely overlooked the region (Kamaiyah, DJ Aux Cord and Caleon Fox were the only locals) — but SZA, Brockhampton and Kamaiyah’s upbeat sets made the festival worth attending. Migos, who make some of the most fun music of our time, surprisingly didn’t sound as polished live as one would expect of artists of their caliber (their vocal backing track was very audible, and Takeoff, the most skillful rapper of the three, carried the set). Few artists opted to have a live band, which would have elevated many of the performances; Anderson .Paak’s set with NxWorries (which features producer Knxledge on turntables) would have sounded more dynamic with his band, the Free Nationals, instead.\u003c/p>\n\u003cp>Despite a few kinks, like huge lines for drinks and no jumbotrons for the people in the back, Blurry Vision was infused with good vibes. The crowd was young and diverse, with Instagram-worthy makeup and the latest streetwear fashions. The fest had only one stage, feeling more laid-back and intimate than similarly sized events from its promoter, Goldenvoice, the company behind Coachella. Middle Harbor Shoreline Park offered people plenty of space to spread out and dance; weed smoke filled the air as the sun set over the Bay.\u003c/p>\n\u003cp>Check out highlights from our favorite performances and a photo slideshow below.\u003c/p>\n\u003cfigure id=\"attachment_13832078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9647-800x533.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Brockhampton Brought a Helicopter on Stage\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to Brockhampton’s performance at sunset on Saturday, Blurry Vision felt somewhat sleepy. Without eye-catching set designs or live bands, solo artists like Roy Wood$ and Isaiah Rashaad were easy to tune out. It wasn’t that they weren’t giving their performances their all, but rather, as emerging artists, they hadn’t elevated their shows from club scale to large-scale festival level yet.\u003c/p>\n\u003cp>Brockhampton, however, are maximalists. They took the stage with a string ensemble and replica helicopter. Their cellist and violinists wore sand-colored outfits resembling military fatigues, with blue face paint recalling Brockhampton’s \u003cem>Saturation III\u003c/em> album cover. Kevin Abstract and his crew of five rappers (out of the group’s total 15 members) wore matching white tees and baggy blue jeans with bulletproof vests, some emblazoned with words like “fiend” and others, more shockingly, with the n-word (hard “R”) and f-word (the gay slur).\u003c/p>\n\u003cp>The multiracial rap group, with its many openly gay members, seemed to be reclaiming these harmful terms (“What are the rules for breakfast today? / What are the words I’m forbidden to say?,” Abstract rhymed on the defiant “Boogie”). Their militaristic set evoked several ideas — imperialist and police violence, for instance, or the fact that America today can feel like a battleground. The queer and black artists on stage looked like they were ready to fight back.\u003c/p>\n\u003cp>Brockhampton are expert showmen: the string musicians shredded on their instruments while the rappers headbanged, ordering the crowd to start a mosh pit. (It turns out the mosh pit is an equalizer, and can make straight men dance to descriptions of gay sex.) Drawing on their shtick of calling themselves a boy band (even though they’re a lot closer to a punk band), they occasionally stepped and danced in unison, uncoordinated and endearing. The group’s flows were dynamic, with an alchemy of distinct voices comparable to firecrackers like Method Man and Redman. Their Blurry Vision set proved the young, scrappy collective has the potential to become cultural change makers, and that they have a bright future ahead.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" ids=\"13832142,13832141,13832139,13832136,13832134,13832132,13832130,13832129,13832126,13832127,13832122,13832123,13832124,13832121,13832114,13832113,13832086,13832085,13832082,13832073,13832074,13832069,13832065,13832064,13832062,13832117,13832118,13832131\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>SZA Made Everyone Feel Like Her Best Friend\u003c/strong>\u003c/p>\n\u003cp>Even with a No. 2 album on Billboard, a handful of Grammy nominations and a headlining set at Blurry Vision, SZA introduced herself to the audience on Saturday night as humbly as an artist promoting her first mixtape. In many ways, her onstage persona resonated with the carefree energy of a lot of Oakland girls, with her sporty style; big wild hair instead of a perfectly coiffed weave; and an uninhibitedness to dance crazy and \u003cem>gig\u003c/em> instead of striving to appear doll-like or sexy. She also possesses the rare ability to bare her soul to a crowd of tens of thousands, making each person in the audience feel like her best friend.\u003c/p>\n\u003cp>That casual authenticity helps explain why SZA’s debut album \u003cem>CTRL\u003c/em> became a Bible to twenty-something straight and bi women for its incisive commentary on the state of dating as a millennial. The audience cathartically sang along with her hilarious kiss-off to an emotionally unavailable dude on “Doves in the Wind” (laughing that he’s no better than a “rubber substitute”). People swayed arm in arm as SZA sang “god bless these twentysomethings” (on “20 Something”), letting out a collective sigh of acceptance about the uncertainty of the future.\u003c/p>\n\u003cp>SZA’s voice, which she uses as nimbly and dynamically as a skilled trombone player, sounded robust and crisp, and her chemistry with her band was infectious. “Go Gina” turned into a psychedelic pop jam session a la Tame Impala, and “The Weekend,” one of her best-known radio singles, got a funkified, double-time makeover. “Thank you Oakland,” she exclaimed as the lights of the Bay Bridge sparkled, “you have a beautiful city.”\u003c/p>\n\u003cfigure id=\"attachment_13832143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9947-2-800x515.jpg\" alt=\"Kamaiyah plays Blurry Vision Festival in Oakland on May 13.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Blurry Vision Festival in Oakland on May 13. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kamaiyah Represented for the Town\u003c/strong>\u003c/p>\n\u003cp>Kamaiyah enjoyed a triumphant homecoming on the second day of Blurry Vision. Among a roster of out-of-town artists, her sound stood out as something distinctly grown in Oakland, with funky, bass-heavy beats that sample the likes of Too Short and Tony! Toni! Toné! Kamaiyah hit the stage in a Missy Elliott-inspired jumpsuit: half purple and half black, emblazoned with her “K” monogram. Backup dancers spun, grooved and stepped behind her, with retro choreography that called to mind ’90s girl groups like TLC. (At one point during the set, one of them twerked in a vertical split.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The crowd was rapt from the start; some sang along while others chatted excitedly, trying to identify her samples and prove their Bay Area cred. Kamaiyah called for cheers for the independent women, spitting sex-positive anthems and party rockers from \u003cem>A Good Night in the Ghetto\u003c/em> with crisp perfection. After running through “Freaky Freaks,” “Mo Money Mo Problems” and other favorites from her debut, she rapped “Dope B-tch” with the crowd approvingly echoing the refrain, “Straight up out of Oakland,” affirming Kamaiyah’s position as the reigning Bay Area rap queen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Blurry Vision music festival made an impressive debut in Oakland this weekend, bringing SZA, Migos, Anderson .Paak and Brockhampton and more to Middle Harbor Shoreline Park, a hidden gem at the Port of Oakland. With its picturesque views of shipping cranes, the Bay Bridge and the San Francisco skyline, the park provided a scenic backdrop for the festival, which featured 21 performers over two days, including some of rap and R&B’s brightest stars.\u003c/p>\n\u003cp>Despite Oakland’s wealth of talent, the booking largely overlooked the region (Kamaiyah, DJ Aux Cord and Caleon Fox were the only locals) — but SZA, Brockhampton and Kamaiyah’s upbeat sets made the festival worth attending. Migos, who make some of the most fun music of our time, surprisingly didn’t sound as polished live as one would expect of artists of their caliber (their vocal backing track was very audible, and Takeoff, the most skillful rapper of the three, carried the set). Few artists opted to have a live band, which would have elevated many of the performances; Anderson .Paak’s set with NxWorries (which features producer Knxledge on turntables) would have sounded more dynamic with his band, the Free Nationals, instead.\u003c/p>\n\u003cp>Despite a few kinks, like huge lines for drinks and no jumbotrons for the people in the back, Blurry Vision was infused with good vibes. The crowd was young and diverse, with Instagram-worthy makeup and the latest streetwear fashions. The fest had only one stage, feeling more laid-back and intimate than similarly sized events from its promoter, Goldenvoice, the company behind Coachella. Middle Harbor Shoreline Park offered people plenty of space to spread out and dance; weed smoke filled the air as the sun set over the Bay.\u003c/p>\n\u003cp>Check out highlights from our favorite performances and a photo slideshow below.\u003c/p>\n\u003cfigure id=\"attachment_13832078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832078\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9647-800x533.jpg\" alt=\"Brockhampton plays Blurry Vision Festival in Oakland on May 12.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9647-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brockhampton plays Blurry Vision Festival in Oakland on May 12. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Brockhampton Brought a Helicopter on Stage\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to Brockhampton’s performance at sunset on Saturday, Blurry Vision felt somewhat sleepy. Without eye-catching set designs or live bands, solo artists like Roy Wood$ and Isaiah Rashaad were easy to tune out. It wasn’t that they weren’t giving their performances their all, but rather, as emerging artists, they hadn’t elevated their shows from club scale to large-scale festival level yet.\u003c/p>\n\u003cp>Brockhampton, however, are maximalists. They took the stage with a string ensemble and replica helicopter. Their cellist and violinists wore sand-colored outfits resembling military fatigues, with blue face paint recalling Brockhampton’s \u003cem>Saturation III\u003c/em> album cover. Kevin Abstract and his crew of five rappers (out of the group’s total 15 members) wore matching white tees and baggy blue jeans with bulletproof vests, some emblazoned with words like “fiend” and others, more shockingly, with the n-word (hard “R”) and f-word (the gay slur).\u003c/p>\n\u003cp>The multiracial rap group, with its many openly gay members, seemed to be reclaiming these harmful terms (“What are the rules for breakfast today? / What are the words I’m forbidden to say?,” Abstract rhymed on the defiant “Boogie”). Their militaristic set evoked several ideas — imperialist and police violence, for instance, or the fact that America today can feel like a battleground. The queer and black artists on stage looked like they were ready to fight back.\u003c/p>\n\u003cp>Brockhampton are expert showmen: the string musicians shredded on their instruments while the rappers headbanged, ordering the crowd to start a mosh pit. (It turns out the mosh pit is an equalizer, and can make straight men dance to descriptions of gay sex.) Drawing on their shtick of calling themselves a boy band (even though they’re a lot closer to a punk band), they occasionally stepped and danced in unison, uncoordinated and endearing. The group’s flows were dynamic, with an alchemy of distinct voices comparable to firecrackers like Method Man and Redman. Their Blurry Vision set proved the young, scrappy collective has the potential to become cultural change makers, and that they have a bright future ahead.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SZA Made Everyone Feel Like Her Best Friend\u003c/strong>\u003c/p>\n\u003cp>Even with a No. 2 album on Billboard, a handful of Grammy nominations and a headlining set at Blurry Vision, SZA introduced herself to the audience on Saturday night as humbly as an artist promoting her first mixtape. In many ways, her onstage persona resonated with the carefree energy of a lot of Oakland girls, with her sporty style; big wild hair instead of a perfectly coiffed weave; and an uninhibitedness to dance crazy and \u003cem>gig\u003c/em> instead of striving to appear doll-like or sexy. She also possesses the rare ability to bare her soul to a crowd of tens of thousands, making each person in the audience feel like her best friend.\u003c/p>\n\u003cp>That casual authenticity helps explain why SZA’s debut album \u003cem>CTRL\u003c/em> became a Bible to twenty-something straight and bi women for its incisive commentary on the state of dating as a millennial. The audience cathartically sang along with her hilarious kiss-off to an emotionally unavailable dude on “Doves in the Wind” (laughing that he’s no better than a “rubber substitute”). People swayed arm in arm as SZA sang “god bless these twentysomethings” (on “20 Something”), letting out a collective sigh of acceptance about the uncertainty of the future.\u003c/p>\n\u003cp>SZA’s voice, which she uses as nimbly and dynamically as a skilled trombone player, sounded robust and crisp, and her chemistry with her band was infectious. “Go Gina” turned into a psychedelic pop jam session a la Tame Impala, and “The Weekend,” one of her best-known radio singles, got a funkified, double-time makeover. “Thank you Oakland,” she exclaimed as the lights of the Bay Bridge sparkled, “you have a beautiful city.”\u003c/p>\n\u003cfigure id=\"attachment_13832143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_9947-2-800x515.jpg\" alt=\"Kamaiyah plays Blurry Vision Festival in Oakland on May 13.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_9947-2-520x335.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah plays Blurry Vision Festival in Oakland on May 13. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Kamaiyah Represented for the Town\u003c/strong>\u003c/p>\n\u003cp>Kamaiyah enjoyed a triumphant homecoming on the second day of Blurry Vision. Among a roster of out-of-town artists, her sound stood out as something distinctly grown in Oakland, with funky, bass-heavy beats that sample the likes of Too Short and Tony! Toni! Toné! Kamaiyah hit the stage in a Missy Elliott-inspired jumpsuit: half purple and half black, emblazoned with her “K” monogram. Backup dancers spun, grooved and stepped behind her, with retro choreography that called to mind ’90s girl groups like TLC. (At one point during the set, one of them twerked in a vertical split.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"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",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"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",
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"source": "NPR"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"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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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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",
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