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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f you’ve been online in the past eight years, you’ve probably come across the “\u003ca href=\"http://78.media.tumblr.com/tumblr_mdyd1cbIqU1rby04wo1_1280.gif\" target=\"_blank\" rel=\"noopener noreferrer\">LOL Nothing Matters\u003c/a>” GIF, rotating in sparkly letters. Deployed as an exit to a debate, or an expression of exhaustion to a troll, it has become a de facto national flag of the internet. It says, finally and definitively: enough.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">This Is America\u003c/a>,” the new video by Childish Gambino released Saturday night, perfectly capped a wild week in America — which is to say, these days, any week in America. When the president of the country wasn’t running through his greatest hits of “NO COLLUSION!” on Twitter, he was busy changing his story on a $130,000 payment to a porn star. Meanwhile, Kanye West appeared on TMZ to \u003ca href=\"https://www.nytimes.com/video/arts/music/100000005880261/kanye-west-likened-slavery-to-a-choice-history-says-otherwise.html\" target=\"_blank\" rel=\"noopener noreferrer\">declare\u003c/a> that slavery is a choice, earning the admiration of said president, who praised Kanye in an NRA speech instead of talking about the 67 mass shootings so far in the United States in 2018.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VYOjWnS4cMY\u003c/p>\n\u003cp>When I watched “This Is America ” — graphically showing Gambino shooting first one person dead, and then an entire gospel choir dead, only to continue dancing in unconcerned fashion to a carefree music of African highlife and adlibs from a half-dozen current rappers like Migos and 21 Savage — I initially felt like one of the country’s favorite artists had, like Kanye and Trump, entered the business of poking a stick into a beehive just to watch the resulting frenzy. The unconcerned smile, the overt provocation, the guaranteed reaction to it all led me to wonder if maybe Gambino didn’t actually believe in anything anymore.\u003c/p>\n\u003cp>Then it hit me: \u003cem>Maybe I didn’t believe in anything anymore either\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13831365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Gambino.Pretty.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>“This is America” is not a salve, nor a solution, nor a guideline. It’s a mirror. It’s right there in the title of the song, which quickly lit up the very same social media networks that are corroding our communication and our political process. The video’s careful detail — guns wrapped in cloth, for example, and treated more reverently than dead black bodies — has already been \u003ca href=\"https://www.reddit.com/r/donaldglover/comments/8gu044/childish_gambino_this_is_america_single_megathread/#bottom-comments\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed and decoded\u003c/a>, and it ends with Gambino running from a mob of white people, a precursor to what’ll likely be a conservative-led parade of outrage about it come Monday morning.\u003c/p>\n\u003cp>Jim Crow, corruption, Charleston, police brutality — these are all a part of “This is America.” But overall, its presentation reflects another national ugliness; the growing sensation that there is no purpose, nor hope, nor reason for faith. It’s a sad and harrowing work of art, a spinning “LOL Nothing Matters” GIF, and 100-percent on point about the state of discourse in America.\u003c/p>\n\u003cfigure id=\"attachment_13831359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-800x450.jpg\" alt=\"A still from Childish Gambino's 'This Is America.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Childish Gambino’s ‘This Is America.’ \u003ccite>(Vevo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here are those who oppose this administration but believe its sowing of discord and untruth will result, eventually, in a net positive for the country. That we are in a reckoning with ourselves which was already coming. That it’s merely expedited by Trump, with a few years of social and political chaos as collateral damage. I can’t join them, but I know what they’re getting at, and part of it is that deep down, we as a country are better than all of this.\u003c/p>\n\u003cp>On Saturday, before “This is America” was released, I attended a lecture in Berkeley by Lil B, one of the first rappers to maximize technology and social media to build a career that, for a time between 2010 and 2014, looked like a movement.\u003c/p>\n\u003cp>It’s hard to explain Lil B to the unconverted. (When I \u003ca href=\"https://www.kqed.org/arts/10224812/thank-you-based-god-10-reasons-why-you-should-see-lil-b-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">asked a 15-year-old\u003c/a> once, he said “imagine if the internet threw up all the good things in it.”) At his lecture, he wore a salmon-colored ladies jacket and a long print skirt; he spoke of his duty as an artist to respect everybody, and to bring people closer to his “Based” philosophy of creative energy, removing filters, and free expression.\u003c/p>\n\u003cfigure id=\"attachment_13831357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-800x566.jpg\" alt=\"Lil B appears at BAMPFA in Berkeley, May 5, 2018.\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B appears at BAMPFA in Berkeley, May 5, 2018. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those ideas parallel the Instagram-ready inspirational quotes currently comprising Kanye’s Twitter stream, but in Lil B’s hands, they’re in the service of generosity and selflessness. Fifteen minutes into his lecture, Lil B became overcome, and invited the audience to take anything they wanted, absolutely free: his art and photographs from the museum’s walls, his photos and other ephemera from a table, a Casio keyboard he’d used for his latest album.\u003c/p>\n\u003cp>A crowd formed to take him up on the offer. Lil B spent the next hour hugging people. “It’s all love!” he intermittently said into the mic. “I love you all!”\u003c/p>\n\u003cp>No new album to generate interest for. No $700 Adidas to sell. No alignment with white supremacists. Just a kid from the Bay Area who once believed in the power of connecting everybody.\u003c/p>\n\u003cfigure id=\"attachment_13831360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831360\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-800x450.jpg\" alt=\"Childish Gambino, in a still from 'This Is America.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino, in a still from ‘This Is America.’ \u003ccite>(Vevo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he internet was once Childish Gambino’s hometown, too; in 2014 he made \u003ca href=\"https://www.youtube.com/watch?v=WaZRq4J-Kbo&list=PLUel01P27D7pzmCJMX6pg2_WUCy2or4Lp\" target=\"_blank\" rel=\"noopener noreferrer\">an entire album about it\u003c/a>, referencing E-Vites, Instagram, hashtags, various memes, friend requests, Twitter, and Worldstarhiphop.com. When I \u003ca href=\"https://www.kqed.org/arts/10143865/erykah-badu-and-childish-gambino-the-queen-and-the-court-jester\" target=\"_blank\" rel=\"noopener noreferrer\">saw him that year\u003c/a>, it felt like Gambino also believed in the power of connecting everybody, or at least acknowledged the reality that, hey, we all live online now, and it’s kind of fun.\u003c/p>\n\u003cp>A lot changes in four years. Gambino, a.k.a. the inconceivably multitalented Donald Glover, has hopped from the internet to television, where he’s making some of the \u003ca href=\"https://www.kqed.org/pop/41491/last-nights-atlanta-surreal-and-provoking-in-all-the-right-ways\" target=\"_blank\" rel=\"noopener noreferrer\">most interesting work on TV with \u003cem>Atlanta\u003c/em>\u003c/a>. As if to prove that real life is more important than URLs, he premiered his latest album \u003cem>Awaken, My Love!\u003c/em> at a campout in the Joshua Tree desert.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And on Saturday, after hosting \u003cem>Saturday Night Live\u003c/em>, Glover offered up the result of all that time online, a place he left but we all stayed, arguing with each other and spreading misinformation and elevating narcissists. And, for four minutes at least, watching “This Is America,” and then quickly opening a new tab to post something about it.\u003c/p>\n\n",
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"excerpt": "Jim Crow, police brutality, Charleston — these are all a part of Childish Gambino's 'This is America,' which reflects a deep hopelessness. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f you’ve been online in the past eight years, you’ve probably come across the “\u003ca href=\"http://78.media.tumblr.com/tumblr_mdyd1cbIqU1rby04wo1_1280.gif\" target=\"_blank\" rel=\"noopener noreferrer\">LOL Nothing Matters\u003c/a>” GIF, rotating in sparkly letters. Deployed as an exit to a debate, or an expression of exhaustion to a troll, it has become a de facto national flag of the internet. It says, finally and definitively: enough.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">This Is America\u003c/a>,” the new video by Childish Gambino released Saturday night, perfectly capped a wild week in America — which is to say, these days, any week in America. When the president of the country wasn’t running through his greatest hits of “NO COLLUSION!” on Twitter, he was busy changing his story on a $130,000 payment to a porn star. Meanwhile, Kanye West appeared on TMZ to \u003ca href=\"https://www.nytimes.com/video/arts/music/100000005880261/kanye-west-likened-slavery-to-a-choice-history-says-otherwise.html\" target=\"_blank\" rel=\"noopener noreferrer\">declare\u003c/a> that slavery is a choice, earning the admiration of said president, who praised Kanye in an NRA speech instead of talking about the 67 mass shootings so far in the United States in 2018.\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>When I watched “This Is America ” — graphically showing Gambino shooting first one person dead, and then an entire gospel choir dead, only to continue dancing in unconcerned fashion to a carefree music of African highlife and adlibs from a half-dozen current rappers like Migos and 21 Savage — I initially felt like one of the country’s favorite artists had, like Kanye and Trump, entered the business of poking a stick into a beehive just to watch the resulting frenzy. The unconcerned smile, the overt provocation, the guaranteed reaction to it all led me to wonder if maybe Gambino didn’t actually believe in anything anymore.\u003c/p>\n\u003cp>Then it hit me: \u003cem>Maybe I didn’t believe in anything anymore either\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13831365\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Gambino.Pretty.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>“This is America” is not a salve, nor a solution, nor a guideline. It’s a mirror. It’s right there in the title of the song, which quickly lit up the very same social media networks that are corroding our communication and our political process. The video’s careful detail — guns wrapped in cloth, for example, and treated more reverently than dead black bodies — has already been \u003ca href=\"https://www.reddit.com/r/donaldglover/comments/8gu044/childish_gambino_this_is_america_single_megathread/#bottom-comments\" target=\"_blank\" rel=\"noopener noreferrer\">analyzed and decoded\u003c/a>, and it ends with Gambino running from a mob of white people, a precursor to what’ll likely be a conservative-led parade of outrage about it come Monday morning.\u003c/p>\n\u003cp>Jim Crow, corruption, Charleston, police brutality — these are all a part of “This is America.” But overall, its presentation reflects another national ugliness; the growing sensation that there is no purpose, nor hope, nor reason for faith. It’s a sad and harrowing work of art, a spinning “LOL Nothing Matters” GIF, and 100-percent on point about the state of discourse in America.\u003c/p>\n\u003cfigure id=\"attachment_13831359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-800x450.jpg\" alt=\"A still from Childish Gambino's 'This Is America.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Gun_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Childish Gambino’s ‘This Is America.’ \u003ccite>(Vevo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here are those who oppose this administration but believe its sowing of discord and untruth will result, eventually, in a net positive for the country. That we are in a reckoning with ourselves which was already coming. That it’s merely expedited by Trump, with a few years of social and political chaos as collateral damage. I can’t join them, but I know what they’re getting at, and part of it is that deep down, we as a country are better than all of this.\u003c/p>\n\u003cp>On Saturday, before “This is America” was released, I attended a lecture in Berkeley by Lil B, one of the first rappers to maximize technology and social media to build a career that, for a time between 2010 and 2014, looked like a movement.\u003c/p>\n\u003cp>It’s hard to explain Lil B to the unconverted. (When I \u003ca href=\"https://www.kqed.org/arts/10224812/thank-you-based-god-10-reasons-why-you-should-see-lil-b-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">asked a 15-year-old\u003c/a> once, he said “imagine if the internet threw up all the good things in it.”) At his lecture, he wore a salmon-colored ladies jacket and a long print skirt; he spoke of his duty as an artist to respect everybody, and to bring people closer to his “Based” philosophy of creative energy, removing filters, and free expression.\u003c/p>\n\u003cfigure id=\"attachment_13831357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-800x566.jpg\" alt=\"Lil B appears at BAMPFA in Berkeley, May 5, 2018.\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/LilB.BAMPFA-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B appears at BAMPFA in Berkeley, May 5, 2018. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those ideas parallel the Instagram-ready inspirational quotes currently comprising Kanye’s Twitter stream, but in Lil B’s hands, they’re in the service of generosity and selflessness. Fifteen minutes into his lecture, Lil B became overcome, and invited the audience to take anything they wanted, absolutely free: his art and photographs from the museum’s walls, his photos and other ephemera from a table, a Casio keyboard he’d used for his latest album.\u003c/p>\n\u003cp>A crowd formed to take him up on the offer. Lil B spent the next hour hugging people. “It’s all love!” he intermittently said into the mic. “I love you all!”\u003c/p>\n\u003cp>No new album to generate interest for. No $700 Adidas to sell. No alignment with white supremacists. Just a kid from the Bay Area who once believed in the power of connecting everybody.\u003c/p>\n\u003cfigure id=\"attachment_13831360\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831360\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-800x450.jpg\" alt=\"Childish Gambino, in a still from 'This Is America.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Gambino.Dance_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino, in a still from ‘This Is America.’ \u003ccite>(Vevo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he internet was once Childish Gambino’s hometown, too; in 2014 he made \u003ca href=\"https://www.youtube.com/watch?v=WaZRq4J-Kbo&list=PLUel01P27D7pzmCJMX6pg2_WUCy2or4Lp\" target=\"_blank\" rel=\"noopener noreferrer\">an entire album about it\u003c/a>, referencing E-Vites, Instagram, hashtags, various memes, friend requests, Twitter, and Worldstarhiphop.com. When I \u003ca href=\"https://www.kqed.org/arts/10143865/erykah-badu-and-childish-gambino-the-queen-and-the-court-jester\" target=\"_blank\" rel=\"noopener noreferrer\">saw him that year\u003c/a>, it felt like Gambino also believed in the power of connecting everybody, or at least acknowledged the reality that, hey, we all live online now, and it’s kind of fun.\u003c/p>\n\u003cp>A lot changes in four years. Gambino, a.k.a. the inconceivably multitalented Donald Glover, has hopped from the internet to television, where he’s making some of the \u003ca href=\"https://www.kqed.org/pop/41491/last-nights-atlanta-surreal-and-provoking-in-all-the-right-ways\" target=\"_blank\" rel=\"noopener noreferrer\">most interesting work on TV with \u003cem>Atlanta\u003c/em>\u003c/a>. As if to prove that real life is more important than URLs, he premiered his latest album \u003cem>Awaken, My Love!\u003c/em> at a campout in the Joshua Tree desert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And on Saturday, after hosting \u003cem>Saturday Night Live\u003c/em>, Glover offered up the result of all that time online, a place he left but we all stayed, arguing with each other and spreading misinformation and elevating narcissists. And, for four minutes at least, watching “This Is America,” and then quickly opening a new tab to post something about it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"https://www.vibe.com/2018/05/g-eazy-pleads-guilty-arrest/\" rel=\"noopener\" target=\"_blank\">Vibe Magazine\u003c/a> reports that G-Eazy plead guilty to assault and drug possession for his attacks on security guards early Thursday morning. By pleading guilty, the rapper avoids jail time and will be allowed to leave Sweden. He’s required to pay $9,000 in fines and restitution to his victim.\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b>\u003c/p>\n\u003cp>Oakland rapper G-Eazy was arrested in Stockholm early Thursday morning after an altercation with an employee of a nightclub, according to reports.\u003c/p>\n\u003cp>In video obtained \u003ca href=\"http://www.tmz.com/2018/05/03/g-eazy-arrested-assault-cocaine-possession-stockholm-sweden/\" rel=\"noopener\" target=\"_blank\">by TMZ.com\u003c/a>, the 28-year-old rapper known for hit songs like “Him & I” and “Me, Myself & I” can be seen being escorted by law enforcement out of a nightclub into a police vehicle. Local law enforcement confirmed to \u003ca href=\"https://theblast.com/g-eazy-arrested-sweden-assault/\" rel=\"noopener\" target=\"_blank\">The Blast\u003c/a> that an American citizen was arrested around 3am on an assault charge, and that it involved an employee of the club.\u003c/p>\n\u003cp>TMZ also reported that cocaine was found in G-Eazy’s possession. Police later confirmed that 1.5 ounces of cocaine was found on G-Eazy’s when he was arrested.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>G-Eazy, whose real name is Gerald Earl Gillum, has been a rising star in the music world since the release of his major label debut, \u003cem>These Things Happen\u003c/em>, in 2014. The album reached number 3 on the Billboard 200, and Gillum went on to collaborate with high profile artists like Cardi B, fellow Oakland artist Kehlani, and pop singer Halsey, who he is also dating. The couple recently performed on \u003ca href=\"https://revolt.tv/stories/2018/01/14/geazy-performs-alongside-hasley-saturday-night-live-08000ff31a\" rel=\"noopener\" target=\"_blank\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> together.\u003c/p>\n\u003cp>The incident occurred at an afterparty following G-Eazy concert in Stockholm Wednesday evening. Before being arrested, G-Eazy and Halsey were seen distributing shots of alcohol to partygoers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details emerge.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> \u003ca href=\"https://www.vibe.com/2018/05/g-eazy-pleads-guilty-arrest/\" rel=\"noopener\" target=\"_blank\">Vibe Magazine\u003c/a> reports that G-Eazy plead guilty to assault and drug possession for his attacks on security guards early Thursday morning. By pleading guilty, the rapper avoids jail time and will be allowed to leave Sweden. He’s required to pay $9,000 in fines and restitution to his victim.\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b>\u003c/p>\n\u003cp>Oakland rapper G-Eazy was arrested in Stockholm early Thursday morning after an altercation with an employee of a nightclub, according to reports.\u003c/p>\n\u003cp>In video obtained \u003ca href=\"http://www.tmz.com/2018/05/03/g-eazy-arrested-assault-cocaine-possession-stockholm-sweden/\" rel=\"noopener\" target=\"_blank\">by TMZ.com\u003c/a>, the 28-year-old rapper known for hit songs like “Him & I” and “Me, Myself & I” can be seen being escorted by law enforcement out of a nightclub into a police vehicle. Local law enforcement confirmed to \u003ca href=\"https://theblast.com/g-eazy-arrested-sweden-assault/\" rel=\"noopener\" target=\"_blank\">The Blast\u003c/a> that an American citizen was arrested around 3am on an assault charge, and that it involved an employee of the club.\u003c/p>\n\u003cp>TMZ also reported that cocaine was found in G-Eazy’s possession. Police later confirmed that 1.5 ounces of cocaine was found on G-Eazy’s when he was arrested.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>G-Eazy, whose real name is Gerald Earl Gillum, has been a rising star in the music world since the release of his major label debut, \u003cem>These Things Happen\u003c/em>, in 2014. The album reached number 3 on the Billboard 200, and Gillum went on to collaborate with high profile artists like Cardi B, fellow Oakland artist Kehlani, and pop singer Halsey, who he is also dating. The couple recently performed on \u003ca href=\"https://revolt.tv/stories/2018/01/14/geazy-performs-alongside-hasley-saturday-night-live-08000ff31a\" rel=\"noopener\" target=\"_blank\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> together.\u003c/p>\n\u003cp>The incident occurred at an afterparty following G-Eazy concert in Stockholm Wednesday evening. Before being arrested, G-Eazy and Halsey were seen distributing shots of alcohol to partygoers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when new details emerge.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a kid growing up on Staten Island, RZA became obsessed with martial arts films, in part because they represented a struggle against oppression he didn’t yet realize existed outside of black America. Classics like \u003cem>The 36th Chamber of Shao Lin \u003c/em>awakened his nascent political consciousness, and samples from it and other films lend Wu-Tang Clan’s music an air of militancy and brotherhood.\u003c/p>\n\u003cp>That early obsession with martial arts films continues to be a guiding force in RZA’s work: His latest collection for his clothing brand, 36 Chambers, had its \u003ca href=\"https://www.kqed.org/arts/13809267\" target=\"_blank\" rel=\"noopener\">debut at San Francisco’s Asian Art Museum\u003c/a> last fall. And now, RZA returns to the Bay Area to perform a live soundtrack for a special screening of \u003cem>The 36th Chamber of Shao Lin.\u003c/em>\u003c/p>\n\u003cp>For the new score, RZA will draw on Wu-Tang Clan’s nearly 30-year catalog, programming beats live throughout the film’s 115-minute run time. It’s happening at the Castro Theatre on Apr. 26, and there are still \u003ca href=\"https://www.eventbrite.com/e/rza-live-from-the-36th-chamber-the-castro-theatre-sf-tickets-44005973050\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> on sale.\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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a kid growing up on Staten Island, RZA became obsessed with martial arts films, in part because they represented a struggle against oppression he didn’t yet realize existed outside of black America. Classics like \u003cem>The 36th Chamber of Shao Lin \u003c/em>awakened his nascent political consciousness, and samples from it and other films lend Wu-Tang Clan’s music an air of militancy and brotherhood.\u003c/p>\n\u003cp>That early obsession with martial arts films continues to be a guiding force in RZA’s work: His latest collection for his clothing brand, 36 Chambers, had its \u003ca href=\"https://www.kqed.org/arts/13809267\" target=\"_blank\" rel=\"noopener\">debut at San Francisco’s Asian Art Museum\u003c/a> last fall. And now, RZA returns to the Bay Area to perform a live soundtrack for a special screening of \u003cem>The 36th Chamber of Shao Lin.\u003c/em>\u003c/p>\n\u003cp>For the new score, RZA will draw on Wu-Tang Clan’s nearly 30-year catalog, programming beats live throughout the film’s 115-minute run time. It’s happening at the Castro Theatre on Apr. 26, and there are still \u003ca href=\"https://www.eventbrite.com/e/rza-live-from-the-36th-chamber-the-castro-theatre-sf-tickets-44005973050\" target=\"_blank\" rel=\"noopener\">tickets\u003c/a> on sale.\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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"title": "With Brutal Honesty, Oakland's ALLBLACK Reaches Toward Peace",
"headTitle": "With Brutal Honesty, Oakland’s ALLBLACK Reaches Toward Peace | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was a wet afternoon, one where you could hear the rain pounding the tin roof that covers the seating area for the Sinaloa Taco trucks. ALLBLACK, the rising rap artist, breathed in a sigh of relief.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“I just like the smell of the rain and all that. I dress for the winter anyway,” he said as he sat across from me, with his tattooed face, bullring nose piercing and no jacket — only a fresh white corner store issued T-shirt. “The rain is peace.”\u003c/p>\n\u003cp>At that moment, I realized ALLBLACK, given name D’Andre Sams, was a different kind of dude.\u003c/p>\n\u003cp>I mean, I already knew he was popular. I could tell from constantly hearing his music coming out of cars passing by in the streets, from the \u003ca href=\"https://www.youtube.com/results?search_query=%22allblack%22&sp=CAM%253D\" target=\"_blank\" rel=\"noopener noreferrer\">amount of plays\u003c/a> his songs have online, and the fact that some guy named Marshawn Lynch gave him a \u003ca href=\"https://twitter.com/moneylynch/status/982477779575848960?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">shoutout on Twitter\u003c/a>. Oh, and there’s also the viral video of ALLBLACK verbally smashing on someone \u003ca href=\"https://www.youtube.com/watch?v=V2nzYYbrhiU\" target=\"_blank\" rel=\"noopener noreferrer\">driving around Oakland with a noose hanging in the backseat\u003c/a> of their car.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what really spoke to me was \u003ca href=\"https://www.instagram.com/p/BhBEVylBBwU/\" target=\"_blank\" rel=\"noopener noreferrer\">this video\u003c/a> on ALLBLACK’s Instagram, in which a crowd chock-full of hyped teenage girls recite ALLBLACK’s lyrics verbatim, at the top of their lungs.\u003c/p>\n\u003cp>“The girls going crazy in the front row, that was my little sisters, all of ‘em. I don’t even know them, but that’s my little sisters,” said ALLBLACK. “It was beautiful to see that I could move children like that. And my music spoke to them in their own way. I ain’t never felt like that, ever!”\u003c/p>\n\u003cp>I doubled back and asked why he thought his music reached them. “I wish I had a saucy-ass answer,” he said, “but I really don’t know.”\u003c/p>\n\u003cp>But in talking to him at Sinaloa, I think I got an idea of why his music is so appealing.\u003c/p>\n\u003cfigure id=\"attachment_13830219\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg\" alt=\"ALLBLACK reunites with a childhood brother.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK with a friend in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK isn’t bashful about living and speaking his truth. And given his subject matter, it’s useful to have prime insight into the “diary,” as he calls it, of a young man who loves his mother and daughter, and also has clearly been around pimp culture. It might seem contradictory to some to have one project named \u003cem>KimsSon\u003c/em>, honoring his mother, and his latest project called \u003cem>Outcalls\u003c/em>, a nod to the oldest profession. But the way he raps candidly about it all is what makes people feel his songs.\u003c/p>\n\u003cp>His music is uptempo, almost aggressive. Not hyphy music by far, and actually more mobb music, a genre which preceded hyphy era here in The Bay. When I asked who his musical influences are, his answers further proved my theory that he is indeed a different kind of dude: “I’ll say Teddy Pendergrass, The Stylistics…”\u003c/p>\n\u003cp>I immediately cut him off. For real?! Why them? I asked. “Their music is peace,” he replied, and then kept going. “I really like the old Prince.” He said he could go on for days, naming artists like Kut Klose, whom I had never heard of. He got to the rappers: “Migos, Gucci, Wiz. I’m a big Wiz fan, like ’09 Wiz. Mixtape Wiz.” And then he mentioned some local artists, including \u003ca href=\"https://www.youtube.com/watch?v=47VQh1VLeeE\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Kossisko\" target=\"_blank\" rel=\"noopener noreferrer\">Kossisko\u003c/a>, used to go by 100s.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.\u003c/aside>\n\u003cp>Long before ALLBLACK was rapping, he was 100s hype man, and it was 100s who pushed him to rap about his life; put his diary on tracks.\u003c/p>\n\u003cp>It made sense. ALLBLACK was already cool with the leaders of the Bay’s newest wave of talent. He went to Pinole Valley for high school — “that’s where I met P-Lo, Iamsu!, Young Bari,” said ALLBLACK. “That’s the first time I heard of Rexx Life Raj.”\u003c/p>\n\u003cp>Even more importantly, he was already relatively well known. “I’ve been popular before music,” ALLBLACK said, just moments before a random guy walked up and interrupted our interview to take a photo with him.\u003c/p>\n\u003cp>He said he was known for dancing and skateboarding, with the nickname given to him by his family, Dusty — still how many people know him. And being “outside” is a major part of his program. “I been outside. I been in other people’s hoods showing love,” said ALLBLACK. “I don’t have problems with other people, I have problems with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13830218\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I chose not to pry further about the internal conflicts he faces. But I got a sense of it from the next question. Having a daughter, does it make you hold back, I asked, on some of the lyrics that might be seen as misogynistic?\u003c/p>\n\u003cp>“No, not at all. I mean what I say, like I said: this music is a diary. It’s not for a filter, for these people,” ALLBLACK said with the confidence of a seasoned orator. “When I write music, I don’t go and watch what I say. When you’re expressing yourself, do you filter what you’re going to say?”\u003c/p>\n\u003cp>(I do. In fact, I think many of us do. I let him keep talking.)\u003c/p>\n\u003cp>“Like I said, it’s my diary. I don’t regret anything I say. If I said it on wax, I know what I said. I’m not going to go back, like, oh we got to delete this,” ALLBLACK said.\u003c/p>\n\u003cp>Even with the context of Oakland and the issues of sex trafficking and all of that? I asked.\u003c/p>\n\u003cp>“Nope, I don’t take it back, because that’s my life,” said ALLBLACK. “I’m giving my views, I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.”\u003c/p>\n\u003cp>Damn. I can’t argue with that.\u003c/p>\n\u003cfigure id=\"attachment_13830217\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK speaks to the experience of many young people; an experience that doesn’t fit into a staunch dichotomy of good versus evil, one side or the other. It’s a worldview that was developed right here. You could take a fish taco from Sinaloa and toss it to the doorstep of the house where ALLBLACK was raised in East Oakland’s Rollin’ Twenties, a.k.a. “The Dubbs.”\u003c/p>\n\u003cp>He has childhood memories of his family housing an older Latino brother, who just happened to be at the taco truck during our conversation — the embrace during the reunion was heartwarming. He also has childhood memories of riding bikes on “The Blade,” or what is often called “The Hoe Stroll,” International Blvd., formerly E. 14th, and seeing the women working, getting a front-row seat to the lifestyle in his songs.\u003c/p>\n\u003cp>In the medical world, one of the hottest terms being tossed around is “\u003ca href=\"http://www.traumainformedcareproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">trauma-informed care\u003c/a>.” It’s about valuing the experience of the individual in order to find a solution to the issue. He’s providing that experience.\u003c/p>\n\u003cp>And in the real world, where we often filter ourselves, it’s appealing to have someone go on record and say what we’ve been thinking, feeling and living. He’s providing that experience.\u003c/p>\n\u003cp>Before I let ALLBLACK enjoy his burrito, I asked, years from now, what his legacy will be. His reply, “Peace.” Why peace? I responded.\u003c/p>\n\u003cp>“It’s comfort. Less worries. I can’t say, no worries. But if I’m all said and done, no regrets will be my legacy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" 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>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was a wet afternoon, one where you could hear the rain pounding the tin roof that covers the seating area for the Sinaloa Taco trucks. ALLBLACK, the rising rap artist, breathed in a sigh of relief.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“I just like the smell of the rain and all that. I dress for the winter anyway,” he said as he sat across from me, with his tattooed face, bullring nose piercing and no jacket — only a fresh white corner store issued T-shirt. “The rain is peace.”\u003c/p>\n\u003cp>At that moment, I realized ALLBLACK, given name D’Andre Sams, was a different kind of dude.\u003c/p>\n\u003cp>I mean, I already knew he was popular. I could tell from constantly hearing his music coming out of cars passing by in the streets, from the \u003ca href=\"https://www.youtube.com/results?search_query=%22allblack%22&sp=CAM%253D\" target=\"_blank\" rel=\"noopener noreferrer\">amount of plays\u003c/a> his songs have online, and the fact that some guy named Marshawn Lynch gave him a \u003ca href=\"https://twitter.com/moneylynch/status/982477779575848960?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">shoutout on Twitter\u003c/a>. Oh, and there’s also the viral video of ALLBLACK verbally smashing on someone \u003ca href=\"https://www.youtube.com/watch?v=V2nzYYbrhiU\" target=\"_blank\" rel=\"noopener noreferrer\">driving around Oakland with a noose hanging in the backseat\u003c/a> of their car.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what really spoke to me was \u003ca href=\"https://www.instagram.com/p/BhBEVylBBwU/\" target=\"_blank\" rel=\"noopener noreferrer\">this video\u003c/a> on ALLBLACK’s Instagram, in which a crowd chock-full of hyped teenage girls recite ALLBLACK’s lyrics verbatim, at the top of their lungs.\u003c/p>\n\u003cp>“The girls going crazy in the front row, that was my little sisters, all of ‘em. I don’t even know them, but that’s my little sisters,” said ALLBLACK. “It was beautiful to see that I could move children like that. And my music spoke to them in their own way. I ain’t never felt like that, ever!”\u003c/p>\n\u003cp>I doubled back and asked why he thought his music reached them. “I wish I had a saucy-ass answer,” he said, “but I really don’t know.”\u003c/p>\n\u003cp>But in talking to him at Sinaloa, I think I got an idea of why his music is so appealing.\u003c/p>\n\u003cfigure id=\"attachment_13830219\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg\" alt=\"ALLBLACK reunites with a childhood brother.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK with a friend in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK isn’t bashful about living and speaking his truth. And given his subject matter, it’s useful to have prime insight into the “diary,” as he calls it, of a young man who loves his mother and daughter, and also has clearly been around pimp culture. It might seem contradictory to some to have one project named \u003cem>KimsSon\u003c/em>, honoring his mother, and his latest project called \u003cem>Outcalls\u003c/em>, a nod to the oldest profession. But the way he raps candidly about it all is what makes people feel his songs.\u003c/p>\n\u003cp>His music is uptempo, almost aggressive. Not hyphy music by far, and actually more mobb music, a genre which preceded hyphy era here in The Bay. When I asked who his musical influences are, his answers further proved my theory that he is indeed a different kind of dude: “I’ll say Teddy Pendergrass, The Stylistics…”\u003c/p>\n\u003cp>I immediately cut him off. For real?! Why them? I asked. “Their music is peace,” he replied, and then kept going. “I really like the old Prince.” He said he could go on for days, naming artists like Kut Klose, whom I had never heard of. He got to the rappers: “Migos, Gucci, Wiz. I’m a big Wiz fan, like ’09 Wiz. Mixtape Wiz.” And then he mentioned some local artists, including \u003ca href=\"https://www.youtube.com/watch?v=47VQh1VLeeE\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Kossisko\" target=\"_blank\" rel=\"noopener noreferrer\">Kossisko\u003c/a>, used to go by 100s.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.\u003c/aside>\n\u003cp>Long before ALLBLACK was rapping, he was 100s hype man, and it was 100s who pushed him to rap about his life; put his diary on tracks.\u003c/p>\n\u003cp>It made sense. ALLBLACK was already cool with the leaders of the Bay’s newest wave of talent. He went to Pinole Valley for high school — “that’s where I met P-Lo, Iamsu!, Young Bari,” said ALLBLACK. “That’s the first time I heard of Rexx Life Raj.”\u003c/p>\n\u003cp>Even more importantly, he was already relatively well known. “I’ve been popular before music,” ALLBLACK said, just moments before a random guy walked up and interrupted our interview to take a photo with him.\u003c/p>\n\u003cp>He said he was known for dancing and skateboarding, with the nickname given to him by his family, Dusty — still how many people know him. And being “outside” is a major part of his program. “I been outside. I been in other people’s hoods showing love,” said ALLBLACK. “I don’t have problems with other people, I have problems with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13830218\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I chose not to pry further about the internal conflicts he faces. But I got a sense of it from the next question. Having a daughter, does it make you hold back, I asked, on some of the lyrics that might be seen as misogynistic?\u003c/p>\n\u003cp>“No, not at all. I mean what I say, like I said: this music is a diary. It’s not for a filter, for these people,” ALLBLACK said with the confidence of a seasoned orator. “When I write music, I don’t go and watch what I say. When you’re expressing yourself, do you filter what you’re going to say?”\u003c/p>\n\u003cp>(I do. In fact, I think many of us do. I let him keep talking.)\u003c/p>\n\u003cp>“Like I said, it’s my diary. I don’t regret anything I say. If I said it on wax, I know what I said. I’m not going to go back, like, oh we got to delete this,” ALLBLACK said.\u003c/p>\n\u003cp>Even with the context of Oakland and the issues of sex trafficking and all of that? I asked.\u003c/p>\n\u003cp>“Nope, I don’t take it back, because that’s my life,” said ALLBLACK. “I’m giving my views, I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.”\u003c/p>\n\u003cp>Damn. I can’t argue with that.\u003c/p>\n\u003cfigure id=\"attachment_13830217\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK speaks to the experience of many young people; an experience that doesn’t fit into a staunch dichotomy of good versus evil, one side or the other. It’s a worldview that was developed right here. You could take a fish taco from Sinaloa and toss it to the doorstep of the house where ALLBLACK was raised in East Oakland’s Rollin’ Twenties, a.k.a. “The Dubbs.”\u003c/p>\n\u003cp>He has childhood memories of his family housing an older Latino brother, who just happened to be at the taco truck during our conversation — the embrace during the reunion was heartwarming. He also has childhood memories of riding bikes on “The Blade,” or what is often called “The Hoe Stroll,” International Blvd., formerly E. 14th, and seeing the women working, getting a front-row seat to the lifestyle in his songs.\u003c/p>\n\u003cp>In the medical world, one of the hottest terms being tossed around is “\u003ca href=\"http://www.traumainformedcareproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">trauma-informed care\u003c/a>.” It’s about valuing the experience of the individual in order to find a solution to the issue. He’s providing that experience.\u003c/p>\n\u003cp>And in the real world, where we often filter ourselves, it’s appealing to have someone go on record and say what we’ve been thinking, feeling and living. He’s providing that experience.\u003c/p>\n\u003cp>Before I let ALLBLACK enjoy his burrito, I asked, years from now, what his legacy will be. His reply, “Peace.” Why peace? I responded.\u003c/p>\n\u003cp>“It’s comfort. Less worries. I can’t say, no worries. But if I’m all said and done, no regrets will be my legacy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SOL Development, the Black Experience, and Hip-Hop as Healing",
"headTitle": "SOL Development, the Black Experience, and Hip-Hop as Healing | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“W\u003c/span>hat do helicopters do for us?” Karega Bailey, lead MC of SOL Development, asked me as we sat inside of Oakland’s Zoo Labs studio earlier this year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The search engine in my mind brought up flashbacks of footage from people being passed over during Hurricane Katrina, people being followed during protests in response to the killing of Oscar Grant, and hundreds of bird’s-eye perspective videos of high-speed chases. The mental images kept flashing as SOL Development’s unreleased single, “Helicopters,” played in the background.\u003c/p>\n\u003cp>In the second verse of the song, Karega says, “Whoa! Gotta watch out for the planes too / My prayers go to Syria, we say ya’ll names too / Cause the same hate that we’ve been facing / Is the same hate that bombed they nation.”\u003c/p>\n\u003cp>That’s it. That’s one of the main messages in SOL Development’s music: acknowledging oppressive forces, not just here in California, or in the United States, but worldwide. And beyond that, their music is about combating oppression, empowering the community and pushing for self-determination. All served over this underlying baseline of love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/smCaoa0iA1c\u003c/p>\n\u003cp>As universally applicable as those themes might be, the music industry — specifically, the modern hip-hop business — has proven that actually selling music that touches on those topics can be difficult.\u003c/p>\n\u003cp>The top songs on hip-hop charts are often pop songs, masquerading as the music we’ve come to know as hip-hop. So how does SOL Development plan to sell uplifting hip-hop that has soulful blues-like melodies laid over beats constructed from fusion jazz?\u003c/p>\n\u003cp>More importantly, how do they plan to ensure people hear the message, when there’s so much other noise out there?\u003c/p>\n\u003cfigure id=\"attachment_13829356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Power-800x601.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>imeless music doesn’t compete,” Bailey said in response to my question. “The goal isn’t to compete, it’s to get the music to who it’s for.”\u003c/p>\n\u003cp>Bailey’s quick response was a mic-drop moment during our listening session. Also in the studio were band member Felicia Gangloff-Bailey (who is married to Karega), manager BJ McBride, photographer Ayesha Walker, and artist/ actress Talia Taylor. I think every single one of us had that “Well, he said that!” look on our face as we let the moment linger.\u003c/p>\n\u003cfigure id=\"attachment_13829360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829360\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1180x1653.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_.jpg 1371w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timeless music doesn’t compete\u003c/em>. That’s a strong stance. And we’ll see how it holds up when their debut album, yet to be titled, drops this spring.\u003c/p>\n\u003cp>But before that happens, I can tell you that the group has been successful thus far.\u003c/p>\n\u003cp>Since I first met the folks from SOL Development, a group made of Karega Bailey, Brittany Tanner, Lauren Adams and Felicia Gangloff-Bailey, it seems like I’ve seen them everywhere. In the past two years I’ve seen them rock the Red Bay Coffee shop in East Oakland, shows on the street at First Friday in Oakland’s Uptown, and even the Oakland Museum. (I wish I could’ve seen them play the huge SXSW festival in Austin this year, just to see the crowd’s reaction, but I gather from Instagram that the group was well-received.)\u003c/p>\n\u003cp>Simply put, it’s good music: jazzy tunes, with clear lyrics and quality vocals, not to mention its themes are extremely relevant to the current news in America, especially right here in Northern California.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks.’\u003c/aside>\n\u003cp>A couple of weeks ago, the shooting of Stephon Clark by a Sacramento police officer brought national attention to our state’s capitol. In the midst of the protestors, cameras and helicopters, SOL Development was right there. “I grew up on that same block,” said Bailey during a recent phone conversation. He told me that the neighborhood is a “forgotten part of Sacramento” where tourism and government dollars don’t reach.\u003c/p>\n\u003cp>To Bailey, being there for the protests was powerful, not just as a person who grew up there, but also as an artist who speaks about these issues and draws from real-world experience. “The teaching isn’t in the rhetoric. The rhetoric codes the instructions, but you have to undergo it to understand it,” Bailey told me. “This isn’t secondary research. You have to model it by living it.”\u003c/p>\n\u003cp>And modeling it isn’t always easy.\u003c/p>\n\u003cfigure id=\"attachment_13829355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829355\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Piano-800x538.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ailey’s brother was shot and killed by another black man in Sacramento a few years ago. And although Bailey and his crew walk and talk a pro-African American message, he stands firm in his belief that, at times, it’s hard to love black people.\u003c/p>\n\u003cp>“It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks,” said Bailey.\u003c/p>\n\u003cp>“We’re looking at some of the most scarred people; we’re beauty, but we’re scarred. And we haven’t received the healing, collectively. When you love wounded people, you have to be on the sacrificing end of love. And very few people are willing to be on the end of that,” said Bailey.\u003c/p>\n\u003cp>He added that it’s easy to love being black, because it’s popularized. I laughed as he said that you get to inherit the “spirit of cool.” And I silently nodded in agreement as he said it also comes with inherited wounds. “It’s not easy when you realize the guy who killed your brother, his pops is in prison too,” Bailey said.\u003c/p>\n\u003cp>Heavy. To hear that from a man who speaks of righteousness. A person who wears Black Panther logos, earth tones, and a hat that reads “Peace King.” A person who teaches at a school named after a Tupac poem, \u003ca href=\"http://rosesinconcrete.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Roses In Concrete\u003c/a>. A person who, every time I’ve seen him perform, always gets a solid percentage of the crowd to raise a fist to the sky — no matter what’s going on in the world.\u003c/p>\n\u003cfigure id=\"attachment_13829357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whichever old scars people are healing from, or whatever current events are causing new scars, Bailey and crew are present, consistently putting on quality shows with strong performances from Tanner, Adams and Gangloff, who also write some of the groups’ music. Constantly working strategically with other artists and notable producers like Alameda’s Trackademicks to Sacramento’s Mino Yanci.\u003c/p>\n\u003cp>Now it’s time to see how that consistency translates. How will crowds react to the group’s album? And how will it bring healing to the masses?\u003c/p>\n\u003cp>Regardless of the answers, it’s powerful in itself to hear entertainers speak of collective healing. Especially when the wounds are front-and-center, evident in the individuals, the community and the entertainment industry in itself. You don’t need to be up close to see it. It’s easily identifiable from far away; you could literally be sitting in a helicopter and see the pain in the black community in America, and how it relates to oppressed people around the world.\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>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "SOL Development's music combats oppression and pushes for self-determination. But how does the industry treat their brand of hip-hop?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“W\u003c/span>hat do helicopters do for us?” Karega Bailey, lead MC of SOL Development, asked me as we sat inside of Oakland’s Zoo Labs studio earlier this year.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The search engine in my mind brought up flashbacks of footage from people being passed over during Hurricane Katrina, people being followed during protests in response to the killing of Oscar Grant, and hundreds of bird’s-eye perspective videos of high-speed chases. The mental images kept flashing as SOL Development’s unreleased single, “Helicopters,” played in the background.\u003c/p>\n\u003cp>In the second verse of the song, Karega says, “Whoa! Gotta watch out for the planes too / My prayers go to Syria, we say ya’ll names too / Cause the same hate that we’ve been facing / Is the same hate that bombed they nation.”\u003c/p>\n\u003cp>That’s it. That’s one of the main messages in SOL Development’s music: acknowledging oppressive forces, not just here in California, or in the United States, but worldwide. And beyond that, their music is about combating oppression, empowering the community and pushing for self-determination. All served over this underlying baseline of love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/smCaoa0iA1c'\n title='//www.youtube.com/embed/smCaoa0iA1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As universally applicable as those themes might be, the music industry — specifically, the modern hip-hop business — has proven that actually selling music that touches on those topics can be difficult.\u003c/p>\n\u003cp>The top songs on hip-hop charts are often pop songs, masquerading as the music we’ve come to know as hip-hop. So how does SOL Development plan to sell uplifting hip-hop that has soulful blues-like melodies laid over beats constructed from fusion jazz?\u003c/p>\n\u003cp>More importantly, how do they plan to ensure people hear the message, when there’s so much other noise out there?\u003c/p>\n\u003cfigure id=\"attachment_13829356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Power-800x601.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>imeless music doesn’t compete,” Bailey said in response to my question. “The goal isn’t to compete, it’s to get the music to who it’s for.”\u003c/p>\n\u003cp>Bailey’s quick response was a mic-drop moment during our listening session. Also in the studio were band member Felicia Gangloff-Bailey (who is married to Karega), manager BJ McBride, photographer Ayesha Walker, and artist/ actress Talia Taylor. I think every single one of us had that “Well, he said that!” look on our face as we let the moment linger.\u003c/p>\n\u003cfigure id=\"attachment_13829360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829360\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1180x1653.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_.jpg 1371w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timeless music doesn’t compete\u003c/em>. That’s a strong stance. And we’ll see how it holds up when their debut album, yet to be titled, drops this spring.\u003c/p>\n\u003cp>But before that happens, I can tell you that the group has been successful thus far.\u003c/p>\n\u003cp>Since I first met the folks from SOL Development, a group made of Karega Bailey, Brittany Tanner, Lauren Adams and Felicia Gangloff-Bailey, it seems like I’ve seen them everywhere. In the past two years I’ve seen them rock the Red Bay Coffee shop in East Oakland, shows on the street at First Friday in Oakland’s Uptown, and even the Oakland Museum. (I wish I could’ve seen them play the huge SXSW festival in Austin this year, just to see the crowd’s reaction, but I gather from Instagram that the group was well-received.)\u003c/p>\n\u003cp>Simply put, it’s good music: jazzy tunes, with clear lyrics and quality vocals, not to mention its themes are extremely relevant to the current news in America, especially right here in Northern California.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks.’\u003c/aside>\n\u003cp>A couple of weeks ago, the shooting of Stephon Clark by a Sacramento police officer brought national attention to our state’s capitol. In the midst of the protestors, cameras and helicopters, SOL Development was right there. “I grew up on that same block,” said Bailey during a recent phone conversation. He told me that the neighborhood is a “forgotten part of Sacramento” where tourism and government dollars don’t reach.\u003c/p>\n\u003cp>To Bailey, being there for the protests was powerful, not just as a person who grew up there, but also as an artist who speaks about these issues and draws from real-world experience. “The teaching isn’t in the rhetoric. The rhetoric codes the instructions, but you have to undergo it to understand it,” Bailey told me. “This isn’t secondary research. You have to model it by living it.”\u003c/p>\n\u003cp>And modeling it isn’t always easy.\u003c/p>\n\u003cfigure id=\"attachment_13829355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829355\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Piano-800x538.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ailey’s brother was shot and killed by another black man in Sacramento a few years ago. And although Bailey and his crew walk and talk a pro-African American message, he stands firm in his belief that, at times, it’s hard to love black people.\u003c/p>\n\u003cp>“It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks,” said Bailey.\u003c/p>\n\u003cp>“We’re looking at some of the most scarred people; we’re beauty, but we’re scarred. And we haven’t received the healing, collectively. When you love wounded people, you have to be on the sacrificing end of love. And very few people are willing to be on the end of that,” said Bailey.\u003c/p>\n\u003cp>He added that it’s easy to love being black, because it’s popularized. I laughed as he said that you get to inherit the “spirit of cool.” And I silently nodded in agreement as he said it also comes with inherited wounds. “It’s not easy when you realize the guy who killed your brother, his pops is in prison too,” Bailey said.\u003c/p>\n\u003cp>Heavy. To hear that from a man who speaks of righteousness. A person who wears Black Panther logos, earth tones, and a hat that reads “Peace King.” A person who teaches at a school named after a Tupac poem, \u003ca href=\"http://rosesinconcrete.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Roses In Concrete\u003c/a>. A person who, every time I’ve seen him perform, always gets a solid percentage of the crowd to raise a fist to the sky — no matter what’s going on in the world.\u003c/p>\n\u003cfigure id=\"attachment_13829357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whichever old scars people are healing from, or whatever current events are causing new scars, Bailey and crew are present, consistently putting on quality shows with strong performances from Tanner, Adams and Gangloff, who also write some of the groups’ music. Constantly working strategically with other artists and notable producers like Alameda’s Trackademicks to Sacramento’s Mino Yanci.\u003c/p>\n\u003cp>Now it’s time to see how that consistency translates. How will crowds react to the group’s album? And how will it bring healing to the masses?\u003c/p>\n\u003cp>Regardless of the answers, it’s powerful in itself to hear entertainers speak of collective healing. Especially when the wounds are front-and-center, evident in the individuals, the community and the entertainment industry in itself. You don’t need to be up close to see it. It’s easily identifiable from far away; you could literally be sitting in a helicopter and see the pain in the black community in America, and how it relates to oppressed people around the world.\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paid In Full: How the Rap World Embraced Bitcoin",
"headTitle": "Paid In Full: How the Rap World Embraced Bitcoin | KQED",
"content": "\u003cp>When rapper Big Baby Gandhi heard about Bitcoin from his coder friends, he was immediately fascinated — so much so that he made his first album, \u003ca href=\"https://bigbabygandhi.bandcamp.com/album/debut\" target=\"_blank\" rel=\"noopener\">\u003cem>Debut\u003c/em>\u003c/a>, available for purchase via Bitcoin on Bandcamp.\u003c/p>\n\u003cp>That was back in 2013, when Bitcoin was popular mostly among tech workers and 4chan types who used the cryptocurrency for illegal dealings on the \u003ca href=\"https://www.kqed.org/news/113690/the-digital-drug-lord-next-door-feds-bust-alleged-silk-road-mastermind-in-san-francisco\" target=\"_blank\" rel=\"noopener\">deep web\u003c/a>. Big Baby Ghandi’s interest was more holistic, in the possibilities of a decentralized digital currency independent of government. Still, the new technology was niche at the time, and Big Baby Gandhi wasn’t surprised that only a handful of fans opted to pay for his album with Bitcoin.\u003c/p>\n\u003cp>“I got like 30 bucks back then and didn’t look at it again,” says the artist, who is originally from Queens, New York and now lives in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13828308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nafi-2-800x450.jpg\" alt=\"Big Baby Ghandi, a rapper originally from Queens and based in Oakland, made his first album available for sale via Bitcoin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2.jpg 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Ghandi, a rapper originally from Queens and based in Oakland, made his first album available for sale via Bitcoin. \u003ccite>(Tarif Anzum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But about a year ago, when Bitcoin started rising in value and generating press, Big Baby Gandhi checked back on his stash and found that his earnings from his album had quintupled. The small profit inspired him to research Bitcoin and its underlying blockchain technology, and he found that many of its principles align with his left-leaning politics.\u003c/p>\n\u003cp>“There’s no central banking system, and that’s the center of how a lot of political decisions are made,” he says. “All our problems stem from the fact that you have these large powers who make moves based on corporate interests.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As it turns out, the ideas behind cryptocurrency also align with many of hip-hop culture’s values. The genre promotes entrepreneurship and self-reliance, underscored by a distrust in authority — which stems from a long history of corporate and government practices, like \u003ca href=\"https://www.nytimes.com/2018/03/07/opinion/mortage-minority-income.html\" target=\"_blank\" rel=\"noopener\">loan discrimination\u003c/a> and \u003ca href=\"https://www.kqed.org/lowdown/18486\" target=\"_blank\" rel=\"noopener\">redlining\u003c/a>, that have kept communities of color economically disadvantaged. From Eric B. & Rakim’s “\u003ca href=\"https://www.youtube.com/watch?v=E7t8eoA_1jQ\" target=\"_blank\" rel=\"noopener\">Paid in Full\u003c/a>” to Gucci Mane’s “\u003ca href=\"https://www.youtube.com/watch?v=uo14xGYwWd4\" target=\"_blank\" rel=\"noopener\">I Get the Bag\u003c/a>,” financial stability has been a central theme in rap for over three decades. So it makes sense that cryptocurrency, a new, potentially lucrative investment opportunity, would pique the interest of the rap world before any other cultural sphere.\u003c/p>\n\u003ch3>Selling Cryptocurrency’s Cool\u003c/h3>\n\u003cp>Many still consider Bitcoin to be the domain of the Tesla-driving technorati, but prominent rap artists’ growing involvement with cryptocurrency is helping it gain mainstream traction. 50 Cent, for instance, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/24/580259163/50-cent-i-forgot-taking-700-bitcoins-for-2014-album-stake-is-now-worth-millions\" target=\"_blank\" rel=\"noopener\">boasted\u003c/a> that he took a Bitcoin payment that earned him $7.5 million (a claim that he has since \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/27/589052493/rapper-50-cent-who-bragged-about-owning-bitcoin-now-denies-it\" target=\"_blank\" rel=\"noopener\">refuted\u003c/a> in his ongoing bankruptcy case).\u003c/p>\n\u003cp>Nipsey Hussle, the L.A. rapper whose debut studio album recently hit No. 4 on Billboard, encourages his fans to invest in Bitcoin in his interviews. He \u003ca href=\"http://www.xxlmag.com/lifestyle/tech/2018/01/nipsey-hussle-guide-bitcoin-cryptocurrency/\" target=\"_blank\" rel=\"noopener\">told \u003cem>XXL\u003c/em>\u003c/a> that Marc Ecko, founder of the tastemaking hip-hop publication \u003cem>Complex\u003c/em>, put him onto cryptocurrency in 2013. Even Wu-Tang’s \u003ca href=\"https://www.cnbc.com/2017/10/04/wu-tang-clans-ghostface-killah-is-backing-a-cryptocurrency-venture.html\" target=\"_blank\" rel=\"noopener\">Ghostface Killah\u003c/a> is a Bitcoin evangelist.\u003c/p>\n\u003cp>And with hip-hop becoming the top-selling music genre in recent years, companies are taking notice that rap artists in particular have a knack for selling cryptocurrency’s cool. G-Eazy, for instance, \u003ca href=\"https://www.coindesk.com/now-can-buy-mariah-carey-g-eazy-albums-monero/\" target=\"_blank\" rel=\"noopener\">partnered with the new coin Monero\u003c/a> and \u003ca href=\"https://www.projectcoralreef.com/all-stores/\" target=\"_blank\" rel=\"noopener\">accepts it as payment\u003c/a> in his online store.\u003c/p>\n\u003cp>“Successful rappers are good businessmen — and any good businessman or woman is going to exhaust all options of expanding their portfolio and expanding that bag,” says Oakland rapper \u003ca href=\"https://soundcloud.com/beejusmusic\" target=\"_blank\" rel=\"noopener\">Beejus\u003c/a>, adding that his own recent cryptocurrency investments have yielded enough profit to fund his next international vacation.\u003c/p>\n\u003cfigure id=\"attachment_13828307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beejus-by-chose-800x534.jpg\" alt=\"Oakland rapper Beejus seeks to educate the local indie hip-hop community about cryptocurrency through his podcast.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Beejus seeks to educate the local indie hip-hop community about cryptocurrency through his podcast. \u003ccite>(Diario \"Chose\" Auston )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beejus’s podcast \u003ca href=\"https://soundcloud.com/awkwardconvos\" target=\"_blank\" rel=\"noopener\">\u003cem>Awkward Convos With Beejus\u003c/em>\u003c/a>, popular among the Bay Area’s indie rap community, recently devoted several episodes to discussing cryptocurrencies and their underlying blockchain technology with fellow artists, including hip-hop producers \u003ca href=\"https://soundcloud.com/10mtony\" target=\"_blank\" rel=\"noopener\">10mTony\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" target=\"_blank\" rel=\"noopener\">Julia Lewis\u003c/a>. Even as the value of Bitcoin and other cryptocurrencies like Litecoin and Ethereum fluctuates in the current market, Beejus says that he’s confident that blockchain has wide-ranging potential that could change how we use the internet altogether — which could have major impacts on the music industry.\u003c/p>\n\u003cp>Many finance and \u003ca href=\"https://www.theverge.com/2018/3/21/17147574/twitter-ceo-bitcoin-jack-dorsey-square-interview-currency-10-years\" target=\"_blank\" rel=\"noopener\">technology experts\u003c/a> agree. Essentially, \u003ca href=\"https://medium.com/blockchain-education-network/blockchain-101-b62cf28997f3\" target=\"_blank\" rel=\"noopener\">blockchain\u003c/a> is a more streamlined data-transfer system that eliminates many of the current inefficiencies and security risks inherent to how we send all types of files and assets, not just currency. Many tech industry insiders argue that it will transform commerce in the same way that email and social media have transformed communication over the past two decades.\u003c/p>\n\u003cp>https://youtu.be/lD9KAnkZUjU\u003c/p>\n\u003cp>The opportunity to get in early on such a game-changing technology is why Beejus, a West Oakland native, says he’s determined to use his podcast to educate his community about Bitcoin and blockchain. “I wish that people in my community were talking about, ‘You gotta invest in this thing called Google, you have to invest in this thing called Microsoft,’” says Beejus. “There was nobody doing that. So if I have a little bit of understanding about it, I want to spread that knowledge.”\u003c/p>\n\u003cp>“A lot of the people who were profiting [from cryptocurrency] a couple years ago were alt-right people or white gamer types,” says Big Baby Gandhi. “If rap exposes it to a different part of the population, then you’ll have people who have this chance to make money that wouldn’t have.”\u003c/p>\n\u003cp>That push from the rap world seems to have had some sway; the \u003ca href=\"http://fortune.com/2018/01/24/young-men-buying-bitcoin/\" target=\"_blank\" rel=\"noopener\">majority of Bitcoin users\u003c/a> — 58 percent — are young men of color. But cryptocurrency is more than an investment opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13828503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828503\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DSC_0618-800x535.jpg\" alt=\"Hip-hop producer 10mTony believes that blockchain has wide-ranging potential to change the music industry.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop producer 10mTony believes that blockchain has wide-ranging potential to change the music industry. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the music industry that understand what blockchain is and cryptocurrency is, I think they see the value in the fact that the ledger is not held by one person, it’s held by everybody,” says 10mTony, referring to the public, yet encrypted, ledger of Bitcoin transactions available to everyone in the network. “When I think about that, I think about the fact that in music, you have all these record labels that own the song or your album or the publishing rights, but with cryptocurrencies and blockchain, you could potentially take that out of their hands and into the public sphere.”\u003c/p>\n\u003ch3>Using Blockchain to Reimagine the Music Industry\u003c/h3>\n\u003cp>A few examples of potential applications of blockchain technology in the music industry are ticket sales, streaming services, and databases and marketplaces for publishing rights. In other words: the spaces where “convenience fees,” crooked managers, corrupt labels, and ticket resellers work their systemic grift on artists and fans.\u003c/p>\n\u003cp>Several startups, like \u003ca href=\"https://aventus.io/\" target=\"_blank\" rel=\"noopener\">Aventus\u003c/a> and \u003ca href=\"https://passagex.com/\" target=\"_blank\" rel=\"noopener\">PassageX\u003c/a>, have launched new ticket-selling platforms that use a blockchain-powered verification system to combat price-inflation and counterfeiting at the hands of scalpers, who often use bots to purchase tickets for high-demand shows and resell them at several times the original price.\u003c/p>\n\u003cp>And \u003ca href=\"https://resonate.is/\" target=\"_blank\" rel=\"noopener\">Resonate\u003c/a>, a new, cooperatively-owned music streaming service still in its beta stage, uses blockchain technology to make streaming more advantageous for artists and users alike. On Resonate, listeners buy credit and use it to stream songs (and streaming for two hours a day adds up to about four dollars a month for listeners). The platform operates on a model called stream-to-own, which breaks up the price of an MP3 download among nine streams. After streaming a track for the ninth time, the listener gets to keep the MP3. Payment credits transfer from listener to artist instantly upon each stream.\u003c/p>\n\u003cp>Right now, on Spotify, it would take 150 streams to equal the price of a download — compared to Resonate’s nine — says Resonate founder Peter Harris, adding that he designed the model with independent artists in mind. He says his team is about a month away from setting up its payment system, but that his eventual goal is instant payments via cryptocurrency.\u003c/p>\n\u003cfigure id=\"attachment_13828424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828424\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Harris, founder of the blockchain-powered streaming service Resonate, says the technology can help artists get paid faster and have more control over their followings. \u003ccite>(Santiago da Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the biggest problems in the industry is the length of time it takes to pay artists. Sometimes it can three to four years,” says Harris. “There’s a lot of inefficiency in the industry in the maintenance of the records, the list of rights, and who could get paid for their work. With blockchain, you could get to the point of having a single database. And if you could automate the collections processing of that data, and then payments, everything could move much faster.”\u003c/p>\n\u003cp>Harris also says that Blockchain could eventually safeguard artists from losing followers as they move from platform to platform by creating an independent network. That’s crucial for artists like \u003ca href=\"http://natekodi.com/\" target=\"_blank\" rel=\"noopener\">Nate Kodi\u003c/a>, an L.A. rapper and producer who recently joined Resonate because SoundCloud deleted his account for copyright violation after he posted some of his remixes, causing him to lose his following.\u003c/p>\n\u003cp>“I think blockchain technology will give more power to actual musicians and artists in general,” says Kodi. “When you put something on the blockchain, it can’t be changed, so it’s sort of like a copyright protection in itself.”\u003c/p>\n\u003cp>Kodi is part of an artist collective called \u003ca href=\"https://everipedia.org/wiki/future-modern-builderberg/\" target=\"_blank\" rel=\"noopener\">Future Modern\u003c/a>, which advocates for the use of blockchain technology for artists. (Oakland’s Big Baby Gandhi is another member.) Chibu Ichiban, the founder of the collective, says that hip-hop artists are key players in the mainstreaming of blockchain, which he maintains has power to give more financial and creative control to artists of all disciplines.\u003c/p>\n\u003cp>“I definitely perceive hip-hop as a path for cryptocurrency to be ingrained into mainstream culture or even millennial youth culture,” says Ichiban. “Anything that’s gonna help artists realize their vision with less friction is going to have an impact on society.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When rapper Big Baby Gandhi heard about Bitcoin from his coder friends, he was immediately fascinated — so much so that he made his first album, \u003ca href=\"https://bigbabygandhi.bandcamp.com/album/debut\" target=\"_blank\" rel=\"noopener\">\u003cem>Debut\u003c/em>\u003c/a>, available for purchase via Bitcoin on Bandcamp.\u003c/p>\n\u003cp>That was back in 2013, when Bitcoin was popular mostly among tech workers and 4chan types who used the cryptocurrency for illegal dealings on the \u003ca href=\"https://www.kqed.org/news/113690/the-digital-drug-lord-next-door-feds-bust-alleged-silk-road-mastermind-in-san-francisco\" target=\"_blank\" rel=\"noopener\">deep web\u003c/a>. Big Baby Ghandi’s interest was more holistic, in the possibilities of a decentralized digital currency independent of government. Still, the new technology was niche at the time, and Big Baby Gandhi wasn’t surprised that only a handful of fans opted to pay for his album with Bitcoin.\u003c/p>\n\u003cp>“I got like 30 bucks back then and didn’t look at it again,” says the artist, who is originally from Queens, New York and now lives in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13828308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nafi-2-800x450.jpg\" alt=\"Big Baby Ghandi, a rapper originally from Queens and based in Oakland, made his first album available for sale via Bitcoin.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nafi-2.jpg 819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Baby Ghandi, a rapper originally from Queens and based in Oakland, made his first album available for sale via Bitcoin. \u003ccite>(Tarif Anzum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But about a year ago, when Bitcoin started rising in value and generating press, Big Baby Gandhi checked back on his stash and found that his earnings from his album had quintupled. The small profit inspired him to research Bitcoin and its underlying blockchain technology, and he found that many of its principles align with his left-leaning politics.\u003c/p>\n\u003cp>“There’s no central banking system, and that’s the center of how a lot of political decisions are made,” he says. “All our problems stem from the fact that you have these large powers who make moves based on corporate interests.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As it turns out, the ideas behind cryptocurrency also align with many of hip-hop culture’s values. The genre promotes entrepreneurship and self-reliance, underscored by a distrust in authority — which stems from a long history of corporate and government practices, like \u003ca href=\"https://www.nytimes.com/2018/03/07/opinion/mortage-minority-income.html\" target=\"_blank\" rel=\"noopener\">loan discrimination\u003c/a> and \u003ca href=\"https://www.kqed.org/lowdown/18486\" target=\"_blank\" rel=\"noopener\">redlining\u003c/a>, that have kept communities of color economically disadvantaged. From Eric B. & Rakim’s “\u003ca href=\"https://www.youtube.com/watch?v=E7t8eoA_1jQ\" target=\"_blank\" rel=\"noopener\">Paid in Full\u003c/a>” to Gucci Mane’s “\u003ca href=\"https://www.youtube.com/watch?v=uo14xGYwWd4\" target=\"_blank\" rel=\"noopener\">I Get the Bag\u003c/a>,” financial stability has been a central theme in rap for over three decades. So it makes sense that cryptocurrency, a new, potentially lucrative investment opportunity, would pique the interest of the rap world before any other cultural sphere.\u003c/p>\n\u003ch3>Selling Cryptocurrency’s Cool\u003c/h3>\n\u003cp>Many still consider Bitcoin to be the domain of the Tesla-driving technorati, but prominent rap artists’ growing involvement with cryptocurrency is helping it gain mainstream traction. 50 Cent, for instance, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/24/580259163/50-cent-i-forgot-taking-700-bitcoins-for-2014-album-stake-is-now-worth-millions\" target=\"_blank\" rel=\"noopener\">boasted\u003c/a> that he took a Bitcoin payment that earned him $7.5 million (a claim that he has since \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/27/589052493/rapper-50-cent-who-bragged-about-owning-bitcoin-now-denies-it\" target=\"_blank\" rel=\"noopener\">refuted\u003c/a> in his ongoing bankruptcy case).\u003c/p>\n\u003cp>Nipsey Hussle, the L.A. rapper whose debut studio album recently hit No. 4 on Billboard, encourages his fans to invest in Bitcoin in his interviews. He \u003ca href=\"http://www.xxlmag.com/lifestyle/tech/2018/01/nipsey-hussle-guide-bitcoin-cryptocurrency/\" target=\"_blank\" rel=\"noopener\">told \u003cem>XXL\u003c/em>\u003c/a> that Marc Ecko, founder of the tastemaking hip-hop publication \u003cem>Complex\u003c/em>, put him onto cryptocurrency in 2013. Even Wu-Tang’s \u003ca href=\"https://www.cnbc.com/2017/10/04/wu-tang-clans-ghostface-killah-is-backing-a-cryptocurrency-venture.html\" target=\"_blank\" rel=\"noopener\">Ghostface Killah\u003c/a> is a Bitcoin evangelist.\u003c/p>\n\u003cp>And with hip-hop becoming the top-selling music genre in recent years, companies are taking notice that rap artists in particular have a knack for selling cryptocurrency’s cool. G-Eazy, for instance, \u003ca href=\"https://www.coindesk.com/now-can-buy-mariah-carey-g-eazy-albums-monero/\" target=\"_blank\" rel=\"noopener\">partnered with the new coin Monero\u003c/a> and \u003ca href=\"https://www.projectcoralreef.com/all-stores/\" target=\"_blank\" rel=\"noopener\">accepts it as payment\u003c/a> in his online store.\u003c/p>\n\u003cp>“Successful rappers are good businessmen — and any good businessman or woman is going to exhaust all options of expanding their portfolio and expanding that bag,” says Oakland rapper \u003ca href=\"https://soundcloud.com/beejusmusic\" target=\"_blank\" rel=\"noopener\">Beejus\u003c/a>, adding that his own recent cryptocurrency investments have yielded enough profit to fund his next international vacation.\u003c/p>\n\u003cfigure id=\"attachment_13828307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828307\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/beejus-by-chose-800x534.jpg\" alt=\"Oakland rapper Beejus seeks to educate the local indie hip-hop community about cryptocurrency through his podcast.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/beejus-by-chose.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland rapper Beejus seeks to educate the local indie hip-hop community about cryptocurrency through his podcast. \u003ccite>(Diario \"Chose\" Auston )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Beejus’s podcast \u003ca href=\"https://soundcloud.com/awkwardconvos\" target=\"_blank\" rel=\"noopener\">\u003cem>Awkward Convos With Beejus\u003c/em>\u003c/a>, popular among the Bay Area’s indie rap community, recently devoted several episodes to discussing cryptocurrencies and their underlying blockchain technology with fellow artists, including hip-hop producers \u003ca href=\"https://soundcloud.com/10mtony\" target=\"_blank\" rel=\"noopener\">10mTony\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" target=\"_blank\" rel=\"noopener\">Julia Lewis\u003c/a>. Even as the value of Bitcoin and other cryptocurrencies like Litecoin and Ethereum fluctuates in the current market, Beejus says that he’s confident that blockchain has wide-ranging potential that could change how we use the internet altogether — which could have major impacts on the music industry.\u003c/p>\n\u003cp>Many finance and \u003ca href=\"https://www.theverge.com/2018/3/21/17147574/twitter-ceo-bitcoin-jack-dorsey-square-interview-currency-10-years\" target=\"_blank\" rel=\"noopener\">technology experts\u003c/a> agree. Essentially, \u003ca href=\"https://medium.com/blockchain-education-network/blockchain-101-b62cf28997f3\" target=\"_blank\" rel=\"noopener\">blockchain\u003c/a> is a more streamlined data-transfer system that eliminates many of the current inefficiencies and security risks inherent to how we send all types of files and assets, not just currency. Many tech industry insiders argue that it will transform commerce in the same way that email and social media have transformed communication over the past two decades.\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/lD9KAnkZUjU'\n title='//www.youtube.com/embed/lD9KAnkZUjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The opportunity to get in early on such a game-changing technology is why Beejus, a West Oakland native, says he’s determined to use his podcast to educate his community about Bitcoin and blockchain. “I wish that people in my community were talking about, ‘You gotta invest in this thing called Google, you have to invest in this thing called Microsoft,’” says Beejus. “There was nobody doing that. So if I have a little bit of understanding about it, I want to spread that knowledge.”\u003c/p>\n\u003cp>“A lot of the people who were profiting [from cryptocurrency] a couple years ago were alt-right people or white gamer types,” says Big Baby Gandhi. “If rap exposes it to a different part of the population, then you’ll have people who have this chance to make money that wouldn’t have.”\u003c/p>\n\u003cp>That push from the rap world seems to have had some sway; the \u003ca href=\"http://fortune.com/2018/01/24/young-men-buying-bitcoin/\" target=\"_blank\" rel=\"noopener\">majority of Bitcoin users\u003c/a> — 58 percent — are young men of color. But cryptocurrency is more than an investment opportunity.\u003c/p>\n\u003cfigure id=\"attachment_13828503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828503\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DSC_0618-800x535.jpg\" alt=\"Hip-hop producer 10mTony believes that blockchain has wide-ranging potential to change the music industry.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSC_0618-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hip-hop producer 10mTony believes that blockchain has wide-ranging potential to change the music industry. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the music industry that understand what blockchain is and cryptocurrency is, I think they see the value in the fact that the ledger is not held by one person, it’s held by everybody,” says 10mTony, referring to the public, yet encrypted, ledger of Bitcoin transactions available to everyone in the network. “When I think about that, I think about the fact that in music, you have all these record labels that own the song or your album or the publishing rights, but with cryptocurrencies and blockchain, you could potentially take that out of their hands and into the public sphere.”\u003c/p>\n\u003ch3>Using Blockchain to Reimagine the Music Industry\u003c/h3>\n\u003cp>A few examples of potential applications of blockchain technology in the music industry are ticket sales, streaming services, and databases and marketplaces for publishing rights. In other words: the spaces where “convenience fees,” crooked managers, corrupt labels, and ticket resellers work their systemic grift on artists and fans.\u003c/p>\n\u003cp>Several startups, like \u003ca href=\"https://aventus.io/\" target=\"_blank\" rel=\"noopener\">Aventus\u003c/a> and \u003ca href=\"https://passagex.com/\" target=\"_blank\" rel=\"noopener\">PassageX\u003c/a>, have launched new ticket-selling platforms that use a blockchain-powered verification system to combat price-inflation and counterfeiting at the hands of scalpers, who often use bots to purchase tickets for high-demand shows and resell them at several times the original price.\u003c/p>\n\u003cp>And \u003ca href=\"https://resonate.is/\" target=\"_blank\" rel=\"noopener\">Resonate\u003c/a>, a new, cooperatively-owned music streaming service still in its beta stage, uses blockchain technology to make streaming more advantageous for artists and users alike. On Resonate, listeners buy credit and use it to stream songs (and streaming for two hours a day adds up to about four dollars a month for listeners). The platform operates on a model called stream-to-own, which breaks up the price of an MP3 download among nine streams. After streaming a track for the ninth time, the listener gets to keep the MP3. Payment credits transfer from listener to artist instantly upon each stream.\u003c/p>\n\u003cp>Right now, on Spotify, it would take 150 streams to equal the price of a download — compared to Resonate’s nine — says Resonate founder Peter Harris, adding that he designed the model with independent artists in mind. He says his team is about a month away from setting up its payment system, but that his eventual goal is instant payments via cryptocurrency.\u003c/p>\n\u003cfigure id=\"attachment_13828424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828424\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/peter-harris-resonate-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Harris, founder of the blockchain-powered streaming service Resonate, says the technology can help artists get paid faster and have more control over their followings. \u003ccite>(Santiago da Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the biggest problems in the industry is the length of time it takes to pay artists. Sometimes it can three to four years,” says Harris. “There’s a lot of inefficiency in the industry in the maintenance of the records, the list of rights, and who could get paid for their work. With blockchain, you could get to the point of having a single database. And if you could automate the collections processing of that data, and then payments, everything could move much faster.”\u003c/p>\n\u003cp>Harris also says that Blockchain could eventually safeguard artists from losing followers as they move from platform to platform by creating an independent network. That’s crucial for artists like \u003ca href=\"http://natekodi.com/\" target=\"_blank\" rel=\"noopener\">Nate Kodi\u003c/a>, an L.A. rapper and producer who recently joined Resonate because SoundCloud deleted his account for copyright violation after he posted some of his remixes, causing him to lose his following.\u003c/p>\n\u003cp>“I think blockchain technology will give more power to actual musicians and artists in general,” says Kodi. “When you put something on the blockchain, it can’t be changed, so it’s sort of like a copyright protection in itself.”\u003c/p>\n\u003cp>Kodi is part of an artist collective called \u003ca href=\"https://everipedia.org/wiki/future-modern-builderberg/\" target=\"_blank\" rel=\"noopener\">Future Modern\u003c/a>, which advocates for the use of blockchain technology for artists. (Oakland’s Big Baby Gandhi is another member.) Chibu Ichiban, the founder of the collective, says that hip-hop artists are key players in the mainstreaming of blockchain, which he maintains has power to give more financial and creative control to artists of all disciplines.\u003c/p>\n\u003cp>“I definitely perceive hip-hop as a path for cryptocurrency to be ingrained into mainstream culture or even millennial youth culture,” says Ichiban. “Anything that’s gonna help artists realize their vision with less friction is going to have an impact on society.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mixtape: Standout Local Hip-Hop and R&B Producers",
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"content": "\u003cp>The Bay Area’s vibrant hip-hop and R&B scenes include a wealth of talented MCs and singers, but it’s often easy to forget the important, behind-the-scenes role that music producers play. A skilled producer doesn’t just provide a instrumental backdrop for an artist to showcase their craft; instead, the best producers elevate their artists, adding depth that demands repeat listens.\u003c/p>\n\u003cp>This mixtape showcases a dozen songs from local hip-hop and R&B artists working with local producers. Some of the MCs in this set — including \u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, \u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a>, and \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a> — are impressively pulling double-duty as producers themselves. And increasingly, talented producers like \u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>, \u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, and \u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> are establishing identities as solo artists, not just skilled sonic craftspeople behind the boards.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 12 producers spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Track Listing\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, “Plans (feat. Beejus, Mani Draper & Turk)”\u003cbr>\n\u003cem>Produced by Ian McKee\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.legendvrymusic.com/\" target=\"_blank\" rel=\"noopener\">LEGENDVRY\u003c/a>, “Slow Down”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/spencerxstevens\" target=\"_blank\" rel=\"noopener\">Spencer Stevens\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rayanajay.com/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, “One More Time”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/KevChoice\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, “Potential (feat. Rexx Life Raj, Ciscero & Mikos Da Gawd)”\u003cbr>\n\u003cem>Produced by JULiA LEWiS and Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> & \u003ca href=\"http://www.ymtk.me/\" target=\"_blank\" rel=\"noopener\">ymtk\u003c/a>, “What’s Up”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri\u003c/a>, “All of You”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/aarumi\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://zionicrew.com/\" target=\"_blank\" rel=\"noopener\">Zion I\u003c/a>, “Us”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/djfreshdjfreshdjfresh\" target=\"_blank\" rel=\"noopener\">DJ Fresh\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a>, “Angels (feat. Bruh From Last Night & Tia Nomore)”\u003cbr>\n\u003cem>Produced by Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.astumusic.com/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a>, “Staycation/Runaway”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/daoudmakesmusic\" target=\"_blank\" rel=\"noopener\">Daoud Anthony\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://the-watershed-415.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Watershed\u003c/a>, “Real Dope (feat. Equipto, Monk HTS & Professa Gabel)”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://brycon.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Brycon\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a> & \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a>, “No Reason”\u003cbr>\n\u003cem>Produced by Versoul and Shy’An G\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, “Worth It (feat. Joyce Wrice)”\u003cbr>\n\u003cem>Produced by Elujay\u003c/em>\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area’s vibrant hip-hop and R&B scenes include a wealth of talented MCs and singers, but it’s often easy to forget the important, behind-the-scenes role that music producers play. A skilled producer doesn’t just provide a instrumental backdrop for an artist to showcase their craft; instead, the best producers elevate their artists, adding depth that demands repeat listens.\u003c/p>\n\u003cp>This mixtape showcases a dozen songs from local hip-hop and R&B artists working with local producers. Some of the MCs in this set — including \u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, \u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a>, and \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a> — are impressively pulling double-duty as producers themselves. And increasingly, talented producers like \u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>, \u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, and \u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> are establishing identities as solo artists, not just skilled sonic craftspeople behind the boards.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 12 producers spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Track Listing\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, “Plans (feat. Beejus, Mani Draper & Turk)”\u003cbr>\n\u003cem>Produced by Ian McKee\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.legendvrymusic.com/\" target=\"_blank\" rel=\"noopener\">LEGENDVRY\u003c/a>, “Slow Down”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/spencerxstevens\" target=\"_blank\" rel=\"noopener\">Spencer Stevens\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rayanajay.com/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, “One More Time”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/KevChoice\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, “Potential (feat. Rexx Life Raj, Ciscero & Mikos Da Gawd)”\u003cbr>\n\u003cem>Produced by JULiA LEWiS and Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> & \u003ca href=\"http://www.ymtk.me/\" target=\"_blank\" rel=\"noopener\">ymtk\u003c/a>, “What’s Up”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri\u003c/a>, “All of You”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/aarumi\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://zionicrew.com/\" target=\"_blank\" rel=\"noopener\">Zion I\u003c/a>, “Us”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/djfreshdjfreshdjfresh\" target=\"_blank\" rel=\"noopener\">DJ Fresh\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a>, “Angels (feat. Bruh From Last Night & Tia Nomore)”\u003cbr>\n\u003cem>Produced by Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.astumusic.com/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a>, “Staycation/Runaway”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/daoudmakesmusic\" target=\"_blank\" rel=\"noopener\">Daoud Anthony\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://the-watershed-415.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Watershed\u003c/a>, “Real Dope (feat. Equipto, Monk HTS & Professa Gabel)”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://brycon.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Brycon\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a> & \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a>, “No Reason”\u003cbr>\n\u003cem>Produced by Versoul and Shy’An G\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, “Worth It (feat. Joyce Wrice)”\u003cbr>\n\u003cem>Produced by Elujay\u003c/em>\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"title": "Talking With Prezi, the Rapper Pledging to 'Do Better' for Hunters Point",
"headTitle": "Talking With Prezi, the Rapper Pledging to ‘Do Better’ for Hunters Point | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2016, Charles Gardner, also known as Prezi, was acquitted of all charges related to a fatal shooting at a San Francisco nightclub. A year later, Prezi released his first song, “\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>,” with the hook “Family telling me to do better / I’ma do better / I’ma do better.” And with that proclamation, he spoke the next chapter of his life into existence: the song has over 17 million views on YouTube alone, and has climbed the radio charts, been remixed with some big names in the Northern California rap scene, and has led to Prezi going on tour.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Now, he’s looking to make his next move: to put his hood on.\u003c/p>\n\u003cp>Prezi’s neighborhood is on the southeastern corner of San Francisco’s 7×7 square. It’s a part of town tourists don’t patronize. You won’t see a postcard with Hunters Point Housing projects on it. Fat chance you’ll find a poster, mug or other memorabilia showing the amazing view from Harbor Road looking eastward across the Bay toward Oakland, the glorious piece of land that I call home.\u003c/p>\n\u003cp>Prezi’s not asking for a postcard or mug for Hunters Point. Just the respect and recognition it deserves.\u003c/p>\n\u003cfigure id=\"attachment_13828044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828044\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-800x535.jpg\" alt=\"Prezi at the corner of Harbor and Northridge in Hunters Point, looking over the Bay. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at the corner of Harbor and Northridge in Hunters Point, looking over the Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week I ventured over to Hunters Point, crossing the Bay Bridge, driving south on 101 and eventually parking my car on Harbor Road. When I got there, I just listened: construction trucks beeped as they worked to renovate the old barracks-turned-low-income housing; birds squawked while flying from the hillside to the ruins of the old Shipyard below; a passing pit bull breathed heavily as his owner gave me a silent head nod. In the distance, I could hear laughter from a group of guys standing about two football fields from my car.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prezi, who’s about 6’4″ with ‘locs that drop to mid-torso, emerged and gave dap to every person in that circle before making his way down the block to where I was parked. We walked into a small playground area, and sat on some stairs that I’d later discover were featured on the cover of RBL Posse’s 1992 album, \u003cem>A Lesson To Be Learned\u003c/em>, which dropped a year after Prezi was born.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Some people don’t understand our music, or what we go through. We don’t chose the life we live. We don’t chose where we come from.’\u003c/aside>\n\u003cp>Before I could ask my first question, a lady by the name of Stacy, who introduced herself as the community chef, walked up and gave Prezi a hug. Before she left, she let us know that anytime we want a plate, all we have to do is say the word.\u003c/p>\n\u003cp>At 26, Prezi is already a bit of historian for this area, the roots of his family tree engrained in the concrete. His grandparents landed in this neighborhood when they moved to the Bay from Texas. Both his mom and pops were raised on Harbor Way. He has three kids of his own now. And though “Do Better” is getting airplay around the world, Prezi hasn’t moved.\u003c/p>\n\u003cp>He’s an exception to the mass exodus of African Americans from the City, where just over 5 perfect of the entire population (884,363 as of 2016) is black, down from just over 10 percent (out of a total of 723,959) in the early ’90s.\u003c/p>\n\u003cp>As the overall population grows, and the black population shrinks, he’s still here. Proudly. Still living in the projects—and still experiencing the feel of being a second-class citizen in a world-class city.\u003c/p>\n\u003cp>“I just got pulled over today,” said Prezi, with a 1,000-yard stare out toward the Bay. “The police was like, ‘Prezi!? How ya doin!? I been seeing the billboards [for “Do Better”] and everything, it’s nice to see.’”\u003c/p>\n\u003cfigure id=\"attachment_13828043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.HPView-800x450.jpg\" alt=\"Looking out over the Bay near Harbor Road in Hunters Point.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looking out over the Bay near Harbor Road in Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rarity of the interaction is amplified, he said, when you consider recent headlines of police shootings in America, and San Francisco in particular. He also said that the officer didn’t give him a ticket.\u003c/p>\n\u003cp>“It blew me away, like, they’re paying attention,” Prezi said.\u003c/p>\n\u003cp>It makes sense. Prezi is telling the story of a community that is hard to reach, for some. And hard to get out of, for others. Geographically shunned to the far corner of a booming metropolitan city. Economically separated from the tech jobs in downtown. Environmentally degraded by years of injustice: it’s the former home to a Naval Shipyard, the onetime location of a Naval Radiological Defense Laboratory and the grounds on which a PG&E plant pumped toxins for over 50 years.\u003c/p>\n\u003cp>All of this resulted in the \u003ca href=\"https://cumulis.epa.gov/supercpad/cursites/csitinfo.cfm?id=0902722\" target=\"_blank\" rel=\"noopener noreferrer\">EPA declaring it a Superfund Site\u003c/a>, the only one of its kind in San Francisco. The health effects have been shown through a number of studies, including one that shows incredibly \u003ca href=\"https://www.sfgate.com/news/article/Disputed-S-F-Power-Plant-Expected-to-Get-1st-OK-2991805.php\" target=\"_blank\" rel=\"noopener noreferrer\">high rates of breast cancer\u003c/a> for African American women in the neighborhood.\u003c/p>\n\u003cp>When asked what it means to be speaking for his community, Prezi said, “When you’re in this kind of position, you don’t see how big things are, cause you’re on the inside looking out.”\u003c/p>\n\u003cfigure id=\"attachment_13828041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.Group_-800x535.jpg\" alt=\"Prezi (center) with friends in Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi (center) with friends in Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one moment it started to click was after a show in Humboldt. That’s where Prezi met his favorite rapper, Mozzy. I balked. \u003cem>What\u003c/em>? Favorite rapper \u003cem>ever\u003c/em>?\u003c/p>\n\u003cp>“Yeah,” Prezi replied, “‘cause he speaks my life into existence. The trials, the not having this or that, the really coming from super nothing. He put me in a place that no other rapper ever put me in.”\u003c/p>\n\u003cp>He clarified a little: “Of course I love the Bigs and Pacs, they spoke dope music. But they weren’t putting me into ‘where I came from’. Mozzy was the first rapper that ever put me back in my childhood. Like, damn, \u003cem>I\u003c/em> could’ve said that… Some people don’t understand our music, or what we go through. We don’t chose the life we live. We don’t chose where we come from.”\u003c/p>\n\u003cfigure id=\"attachment_13828045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828045\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-800x535.jpg\" alt=\"Prezi in Hunters Point with Stacy, who calls herself the 'community chef.'\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi in Hunters Point with Stacy, who calls herself the ‘community chef.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>o be an African American, an artist and from San Francisco is almost as rare as it gets. Prezi’s legend isn’t just a San Francisco story or another American tall tale; it’s a universal narrative of struggle and perseverance. In the midst of environmental, historical and current institutional hurdles, he simply wants to “do better”. And for that, I commend him.\u003c/p>\n\u003cp>I took a few photos of him, his community members, and his street sign. Quietly noting to myself that the sounds of the beeping construction trucks are evidence that change is afoot, and the brothers standing in a circle laughing won’t be there forever.\u003c/p>\n\u003cp>Before I got in the car to head back across the Bay, I finally asked. Why do they call you Prezi?\u003c/p>\n\u003cp>With a smile protruding out his hooded sweatshirt, he said, “I’m the president around here.”\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>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a hit song, the 26-year-old San Francisco rapper wants to deliver some respect back to his neighborhood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2016, Charles Gardner, also known as Prezi, was acquitted of all charges related to a fatal shooting at a San Francisco nightclub. A year later, Prezi released his first song, “\u003ca href=\"https://www.youtube.com/watch?v=OLGtumQ1GMk\" target=\"_blank\" rel=\"noopener noreferrer\">Do Better\u003c/a>,” with the hook “Family telling me to do better / I’ma do better / I’ma do better.” And with that proclamation, he spoke the next chapter of his life into existence: the song has over 17 million views on YouTube alone, and has climbed the radio charts, been remixed with some big names in the Northern California rap scene, and has led to Prezi going on tour.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Now, he’s looking to make his next move: to put his hood on.\u003c/p>\n\u003cp>Prezi’s neighborhood is on the southeastern corner of San Francisco’s 7×7 square. It’s a part of town tourists don’t patronize. You won’t see a postcard with Hunters Point Housing projects on it. Fat chance you’ll find a poster, mug or other memorabilia showing the amazing view from Harbor Road looking eastward across the Bay toward Oakland, the glorious piece of land that I call home.\u003c/p>\n\u003cp>Prezi’s not asking for a postcard or mug for Hunters Point. Just the respect and recognition it deserves.\u003c/p>\n\u003cfigure id=\"attachment_13828044\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828044\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-800x535.jpg\" alt=\"Prezi at the corner of Harbor and Northridge in Hunters Point, looking over the Bay. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Streetsigns.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi at the corner of Harbor and Northridge in Hunters Point, looking over the Bay. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week I ventured over to Hunters Point, crossing the Bay Bridge, driving south on 101 and eventually parking my car on Harbor Road. When I got there, I just listened: construction trucks beeped as they worked to renovate the old barracks-turned-low-income housing; birds squawked while flying from the hillside to the ruins of the old Shipyard below; a passing pit bull breathed heavily as his owner gave me a silent head nod. In the distance, I could hear laughter from a group of guys standing about two football fields from my car.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prezi, who’s about 6’4″ with ‘locs that drop to mid-torso, emerged and gave dap to every person in that circle before making his way down the block to where I was parked. We walked into a small playground area, and sat on some stairs that I’d later discover were featured on the cover of RBL Posse’s 1992 album, \u003cem>A Lesson To Be Learned\u003c/em>, which dropped a year after Prezi was born.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Some people don’t understand our music, or what we go through. We don’t chose the life we live. We don’t chose where we come from.’\u003c/aside>\n\u003cp>Before I could ask my first question, a lady by the name of Stacy, who introduced herself as the community chef, walked up and gave Prezi a hug. Before she left, she let us know that anytime we want a plate, all we have to do is say the word.\u003c/p>\n\u003cp>At 26, Prezi is already a bit of historian for this area, the roots of his family tree engrained in the concrete. His grandparents landed in this neighborhood when they moved to the Bay from Texas. Both his mom and pops were raised on Harbor Way. He has three kids of his own now. And though “Do Better” is getting airplay around the world, Prezi hasn’t moved.\u003c/p>\n\u003cp>He’s an exception to the mass exodus of African Americans from the City, where just over 5 perfect of the entire population (884,363 as of 2016) is black, down from just over 10 percent (out of a total of 723,959) in the early ’90s.\u003c/p>\n\u003cp>As the overall population grows, and the black population shrinks, he’s still here. Proudly. Still living in the projects—and still experiencing the feel of being a second-class citizen in a world-class city.\u003c/p>\n\u003cp>“I just got pulled over today,” said Prezi, with a 1,000-yard stare out toward the Bay. “The police was like, ‘Prezi!? How ya doin!? I been seeing the billboards [for “Do Better”] and everything, it’s nice to see.’”\u003c/p>\n\u003cfigure id=\"attachment_13828043\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828043\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.HPView-800x450.jpg\" alt=\"Looking out over the Bay near Harbor Road in Hunters Point.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.HPView.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looking out over the Bay near Harbor Road in Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rarity of the interaction is amplified, he said, when you consider recent headlines of police shootings in America, and San Francisco in particular. He also said that the officer didn’t give him a ticket.\u003c/p>\n\u003cp>“It blew me away, like, they’re paying attention,” Prezi said.\u003c/p>\n\u003cp>It makes sense. Prezi is telling the story of a community that is hard to reach, for some. And hard to get out of, for others. Geographically shunned to the far corner of a booming metropolitan city. Economically separated from the tech jobs in downtown. Environmentally degraded by years of injustice: it’s the former home to a Naval Shipyard, the onetime location of a Naval Radiological Defense Laboratory and the grounds on which a PG&E plant pumped toxins for over 50 years.\u003c/p>\n\u003cp>All of this resulted in the \u003ca href=\"https://cumulis.epa.gov/supercpad/cursites/csitinfo.cfm?id=0902722\" target=\"_blank\" rel=\"noopener noreferrer\">EPA declaring it a Superfund Site\u003c/a>, the only one of its kind in San Francisco. The health effects have been shown through a number of studies, including one that shows incredibly \u003ca href=\"https://www.sfgate.com/news/article/Disputed-S-F-Power-Plant-Expected-to-Get-1st-OK-2991805.php\" target=\"_blank\" rel=\"noopener noreferrer\">high rates of breast cancer\u003c/a> for African American women in the neighborhood.\u003c/p>\n\u003cp>When asked what it means to be speaking for his community, Prezi said, “When you’re in this kind of position, you don’t see how big things are, cause you’re on the inside looking out.”\u003c/p>\n\u003cfigure id=\"attachment_13828041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.Group_-800x535.jpg\" alt=\"Prezi (center) with friends in Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Group_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi (center) with friends in Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one moment it started to click was after a show in Humboldt. That’s where Prezi met his favorite rapper, Mozzy. I balked. \u003cem>What\u003c/em>? Favorite rapper \u003cem>ever\u003c/em>?\u003c/p>\n\u003cp>“Yeah,” Prezi replied, “‘cause he speaks my life into existence. The trials, the not having this or that, the really coming from super nothing. He put me in a place that no other rapper ever put me in.”\u003c/p>\n\u003cp>He clarified a little: “Of course I love the Bigs and Pacs, they spoke dope music. But they weren’t putting me into ‘where I came from’. Mozzy was the first rapper that ever put me back in my childhood. Like, damn, \u003cem>I\u003c/em> could’ve said that… Some people don’t understand our music, or what we go through. We don’t chose the life we live. We don’t chose where we come from.”\u003c/p>\n\u003cfigure id=\"attachment_13828045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828045\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-800x535.jpg\" alt=\"Prezi in Hunters Point with Stacy, who calls herself the 'community chef.'\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Prezi.Chef_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prezi in Hunters Point with Stacy, who calls herself the ‘community chef.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>o be an African American, an artist and from San Francisco is almost as rare as it gets. Prezi’s legend isn’t just a San Francisco story or another American tall tale; it’s a universal narrative of struggle and perseverance. In the midst of environmental, historical and current institutional hurdles, he simply wants to “do better”. And for that, I commend him.\u003c/p>\n\u003cp>I took a few photos of him, his community members, and his street sign. Quietly noting to myself that the sounds of the beeping construction trucks are evidence that change is afoot, and the brothers standing in a circle laughing won’t be there forever.\u003c/p>\n\u003cp>Before I got in the car to head back across the Bay, I finally asked. Why do they call you Prezi?\u003c/p>\n\u003cp>With a smile protruding out his hooded sweatshirt, he said, “I’m the president around here.”\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-oakland-museum-gives-hip-hop-due-respect",
"title": "The Oakland Museum Gives Hip-Hop Due 'Respect'",
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"headTitle": "The Oakland Museum Gives Hip-Hop Due ‘Respect’ | KQED",
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"content": "\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13827918,13827889,13827917,13827916,13827915,13827919,13827914\"]\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>[gallery ids=\"13827896,13827897,13827898,13827899,13827900,13827895\"]\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\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>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "In its new show 'Respect: Hip-Hop Style and Wisdom,' hip-hop culture is a dynamic, vibrant living thing. ",
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"title": "The Oakland Museum Gives Hip-Hop Due 'Respect' | KQED",
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"headline": "The Oakland Museum Gives Hip-Hop Due 'Respect'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Run-DMC, Pauline Oliveros, and Chic Added to Library of Congress",
"headTitle": "Run-DMC, Pauline Oliveros, and Chic Added to Library of Congress | KQED",
"content": "\u003cp>The National Library of Congress has shared its latest batch of musical inductees to the \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Recording Registry\u003c/a>. The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \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=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The National Library of Congress has shared its latest batch of musical inductees to the \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\" target=\"_blank\" rel=\"noopener\">National Recording Registry\u003c/a>. The 25 works — a mix of singles, field recordings, albums and soundtracks — represent myriad genres and time periods, and bring the Registry’s overall catalog up to 500 entries.\u003c/p>\n\u003cp>From pop, the class includes \u003ca href=\"https://www.npr.org/artists/15367096/the-temptations\">The Temptations\u003c/a>‘ 1965 hit single “My Girl”; \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\">Tony Bennett\u003c/a>‘s 1962 love song “I Left My Heart in San Francisco”; the soundtrack to \u003cem>The Sound of Music\u003c/em>; \u003ca href=\"https://www.npr.org/artists/141243619/harry-belafonte\">Harry Belafonte\u003c/a>‘s 1965 album \u003cem>Calypso\u003c/em>; Arlo Guthrie’s 1967 anti-war monologue “Alice’s Restaurant Massacree”; the 1967 compilation \u003cem>New Sounds in Electronic Music\u003c/em>, which included separate works from Steve Reich, Richard Maxfield and \u003ca href=\"https://www.npr.org/2017/07/24/538378166/turning-the-tables-150-greatest-albums-made-by-women-page-3\">Pauline Oliveros\u003c/a>; Chic’s indelible disco hit “Le Freak” from 1978; and \u003ca href=\"https://www.npr.org/artists/15770433/run-d-m-c\">Run-D.M.C.\u003c/a>‘s 1986 album \u003cem>Raising Hell.\u003c/em>\u003c/p>\n\u003cp>Other timeless inductions run the gamut from Arthur Schnabel’s \u003cem>The Complete \u003c/em>\u003ca href=\"https://www.npr.org/artists/15232481/ludwig-van-beethoven\">\u003cem>Beethoven\u003c/em>\u003c/a>\u003cem> Piano Sonatas\u003c/em> (1932-1935), the works’ first recordings, to historical field recordings of songs, preserved on wax cylinders by George Herzog in 1928, from the Sioux’s Yanktonai-Dakota band. The cylinders captured songs of the band following its relocation to \u003ca href=\"https://www.npr.org/tags/492631448/standing-rock-sioux-tribe\">Standing Rock Reservation\u003c/a> (near the site of the protracted Dakota Access Pipeline protests) and songs recalled from times prior to establishment of the reservation. The 1930 bolero folk song “Lamento Borincano” gave a voice to the plight of Puerto Rico’s farming community during the Great Depression. NBC’s two-month radio series covering the United Nations Conference on International Organization, which took place in San Francisco between April and June, 1945, gives a fly-on-the-wall account of how the United Nations’ charter was created.\u003c/p>\n\u003cp> The 2017 inductees are listed chronologically below. \u003c/p>\n\u003cp>“Dream Melody Intermezzo: Naughty Marietta” (single), Victor Herbert and his Orchestra (1911)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Standing Rock Preservation Recordings, George Herzog and Members of the Yanktoni Tribe (1928)\u003c/p>\n\u003cp>“Lamento Borincano” (single), Canario y Su Grupo (1930)\u003c/p>\n\u003cp>“Sitting on Top of the World” (single), Mississippi Sheiks (1930) \u003c/p>\n\u003cp>\u003cem>The Complete Beethoven Piano Sonatas\u003c/em> (album), Artur Schnabel (1932-1935)\u003c/p>\n\u003cp>“If I Didn’t Care” (single), The Ink Spots (1939) \u003c/p>\n\u003cp>Proceedings of the United Nations Conference on International Organization (4/25/45-6/26/45)\u003c/p>\n\u003cp>\u003cem>Folk Songs of the Hills\u003c/em> (album), Merle Travis (1946)\u003c/p>\n\u003cp>“How I Got Over” (single), Clara Ward and the Ward Singers (1950) \u003c/p>\n\u003cp> “(We’re Gonna) Rock Around the Clock” (single), Bill Haley and His Comets (1954) \u003c/p>\n\u003cp>\u003cem>Calypso\u003c/em> (album), Harry Belafonte (1956) album\u003c/p>\n\u003cp>“I Left My Heart in San Francisco” (single), Tony Bennett (1962)\u003c/p>\n\u003cp>“King Biscuit Time” (radio), Sonny Boy Williamson II and others (1965) \u003c/p>\n\u003cp>“My Girl” (single), The Temptations (1964)\u003c/p>\n\u003cp>\u003cem>The Sound of Music \u003c/em>(soundtrack), Various (1965)\u003c/p>\n\u003cp>“Alice’s Restaurant Massacree” (single), Arlo Guthrie (1967)\u003c/p>\n\u003cp>\u003cem>New Sounds in Electronic Music\u003c/em> (album), Steve Reich, Richard Maxfield, Pauline Oliveros (1967) \u003c/p>\n\u003cp>\u003cem>An Evening with Groucho\u003c/em> (album), Groucho Marx (1972) \u003c/p>\n\u003cp>\u003cem>Rumours\u003c/em>, (album), Fleetwood Mac (1977)\u003c/p>\n\u003cp>“The Gambler” (single), Kenny Rogers (1978) \u003c/p>\n\u003cp>“Le Freak” (single), Chic (1978) \u003c/p>\n\u003cp>“Footloose” (single), Kenny Loggins (1984) remake released in 2011. \u003c/p>\n\u003cp>\u003cem>Raising Hell\u003c/em> (album), Run-DMC (1986) \u003c/p>\n\u003cp>“Rhythm Is Gonna Get You” (single), Gloria Estefan and the Miami Sound Machine (1987)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Yo-Yo Ma Premieres: Concertos for Violoncello and Orchestra\u003c/em> (album), Various (1996) \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=Run-DMC%2C+Pauline+Oliveros%2C+%27Rumours%2C%27+Chic+And+Beethoven+Added+To+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's 'Vietgone' Lands Somewhere Between Brilliant and Awful",
"headTitle": "ACT’s ‘Vietgone’ Lands Somewhere Between Brilliant and Awful | KQED",
"content": "\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A mix of war, motorcycles and hip-hop adds up to one of the most unbalanced plays in recent memory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two months ago during the intermission of Star Finch’s terrific \u003cem>Bondage\u003c/em>, I spent fifteen absurd minutes with three random theatergoers parsing and debating the meaning of the title of Qui Nguyen’s \u003cem>Vietgone\u003c/em>, the new play receiving its Bay Area premiere under Jaime Casteneda’s lively direction at ACT’s Strand Theater.\u003c/p>\n\u003cp>I thought the title was an obvious, straightforward reference to the fall of Saigon and the plight of South Vietnamese refugees; a woman wearing a fox fur boa thought it was a clever pun on the Vietcong. “Too clever,” countered a balding gentleman in a plaid jacket, only to be counter-countered by a full-bearded fellow in a black cowboy hat and rhinestone boots. He claimed that all our interpretations “could be subsumed under the playwright’s obvious allusion to Sophocles’ \u003cem>Antigone \u003c/em>and that the play was probably about burying the dead, exile, the proper way to mourn the loss of family, country, and a way of life.”\u003c/p>\n\u003cfigure id=\"attachment_13827086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827086\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg\" alt=\"(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_047-e1520926020400.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nhan (Stephen Hu) and Quang (James Seol) helicopter as many people as they can to safety after the fall of Saigon. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We all nodded in unison. “Impressive,” baldy in plaid murmured. “Well, whatever it means,” fox fur added, “It must have been agony.” Laughing at her witticism, the house manager ushered us in for the second act. It says a great deal about Nguyen’s roving imagination that everything we said was true, though none of us could have guessed how terrific and awful \u003cem>Vietgone\u003c/em> would be, perhaps the most unbalanced play in terms of quality I’ve seen in some time — or ever for that matter.\u003c/p>\n\u003cp>At his best, Nguyen has written a haunting, neo-Brechtian, rap-infused epic that follows party girl Tong and family man-fighter pilot Quang (a brilliant James Seol) as they escape Saigon, end up in a refugee camp in Arkansas, and discover just how vast America is. That it all ends at a dining room table in 2015 is a wonderful demonstration of how every epic takes us home, even when returning home is an impossibility.\u003c/p>\n\u003cp>Nguyen catches the richness and imperfection of Tong and Quang’s lives in Saigon. Tong is resisting the repeated proposals of the hapless fellow she’s sleeping with from time to time, desperate to escape the expectations of her family to marry and settle down. And Quang is certain of South Vietnamese victory (with American help) or at least not sudden defeat, while yearning to see his young children. When his wife visits him without bringing his son and daughter, he’s devastated, already a ghost to his own life.\u003c/p>\n\u003cfigure id=\"attachment_13827087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg\" alt=\"Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_043-e1520926355173.jpg 1361w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) is devastated when his wife Thu (Cindy Im) visits him without their children. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neither of these two ordinary people are ready for the Vietcong’s victory. Through no fault of their own they’re catapulted out of one world and into another uncertain American one — Tong with her disapproving mother and Quang with his best friend Nhan. \u003cem>Vietgone\u003c/em> is deadly effective when it’s at its simplest, just people talking to one another about what they care for and what they’ve lost. And Quang and Tong’s hip-hop soliloquies are a perfect example of this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1975 hip-hop was just a glimmer in the Sugarhill Gang’s collective unconscious. Nguyen’s ahistorical redeployment of the form is a lovely kind of cultural appropriation before the fact. When you hear Tong and Quang rap to Shammy Dee’s haunting minor key score, you understand how rapping is a solace to all those who are dispossessed and angry. At moments like these you can’t deny that \u003cem>Vietgone\u003c/em> possesses a kind of conceptual genius, and that Nguyen has found or reinvigorated a more fluid and expressive form of playwriting than we’re used to in the American theater.\u003c/p>\n\u003cp>So here’s the damning, sad fact of it all. In the midst of all this brilliance is some truly dreadful writing — weak-minded parodies, sitcom tripe, and post-modern juvenilia. The play begins with the playwright (one of the actors playing Nguyen) laying out the rules of the play. It’s the type of postmodern knowingness and false experimentalism that masks what essentially is a conservative and retrograde impulse: let me lead you by the hand so you do not have to think.\u003c/p>\n\u003cfigure id=\"attachment_13827088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827088\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg\" alt=\"(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life.\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_076-e1520926703893.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Tong (Jenelle Chu) and her mother Huong (Cindy Im) argue about the merits of American life. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than slip into the subtleties of a complex world, the play too often panders to our supposed ignorance and disinterest. Tong’s mother is drawn in such broad, unrealistic strokes that the only way Cindy Im can play her is to wallow in the worst kind of comic shtick. She’s not so much a character as a series of gimmicks and many of her scenes cripple the play’s delicate sense of reality.\u003c/p>\n\u003cp>In not trusting the audience to understand what’s before them, you can sense Nguyen losing trust in his material. In the second act he relies on a series of movie parodies to both move along and comment on the action. Every one of them is a disaster of nonsense, from a montage of rom-com classics (\u003cem>Say Anything\u003c/em>, \u003cem>Ghost\u003c/em>) to a \u003cem>Kill Bill\u003c/em> fight sequence that only serves to remind you what a dedicated and precise artist Quentin Tarantino is.\u003c/p>\n\u003cp>But then there’s the last scene, where the fictionalized playwright Nguyen, who turns out to be Quang’s son, interviews his father. It’s a lovely, funny, and searching conversation that in many ways is a rebuke to Nguyen’s lack of artistic discipline. Hectoring his father to tell him the truth of the Vietnam war, or at least the truth a young liberal artist would want to hear, Quang sets him straight, both politically (“When America come [to fight], they gave us hope”) and artistically — “Stick to writing funny plays, son, this stuff too sad for old man like me to recount just to help you write another war story.”\u003c/p>\n\u003cfigure id=\"attachment_13827092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg\" alt=\"Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac).\" width=\"800\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-768x422.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1920x1056.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VTG_284-e1520927213262.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quang (James Seol) and best friend Nhan (Stephen Hu) get into a ruckus with a redneck (Jomar Tagatac). \u003ccite>(Pho0to: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a sharp critique from a fictional father to a fictional son of Nguyen’s own making, and real advice that the real Nguyen should have heeded.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Vietgone’ runs through Sunday, April 22, at the Strand Theater in San Francisco. For tickets and information click \u003ca href=\"http://www.act-sf.org\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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