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"headTitle": "Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A | KQED",
"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gtzefLBravg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Behind the Beats: JULiA LEWiS",
"headTitle": "Behind the Beats: JULiA LEWiS | KQED",
"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>In 2015, Ben Falik, a.k.a. \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, was unfulfilled with his job at an ad agency. When we \u003ca href=\"http://pigeonsandplanes.com/in-depth/2015/02/14-rising-bay-area-artists-you-should-know/rey-res\" target=\"_blank\" rel=\"noopener\">sat down to talk\u003c/a> that year, the Berkeley-born producer was hoping to quit his job to focus on a musical career. Falik had only a handful of production credits to his name back then, the most high-profile being a collaboration with former Zion I producer Amp Live. He spoke of San Francisco producer \u003ca href=\"https://soundcloud.com/mr_carmack\" target=\"_blank\" rel=\"noopener\">Mr. Carmack\u003c/a> with reverence; his eyes lit up when he talked about his “dream” of collaborating with the Mad Decent- and Soulection-affiliated artist someday.\u003c/p>\n\u003cp>Now, two and a half years later, Falik is in his home studio in San Francisco, still beaming from the early September release of his track “On The Regular,” which he co-produced with Mikos Da Gawd (featured in an earlier installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>), Oakland rapper-producer Elujay, and his dream collaborator, Mr. Carmack. He turns up the volume, bites his lower lip and bounces in his seat with pride.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339511023″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I connected to him through Mikos. We were here and he says, ‘Aaron (Carmack) wants to come over, you wanna hang?’” Falik says. “We did six tracks that one session, and now those tracks are developing into songs — the first one just dropped.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Impromptu studio sessions like the one Falik describes are the lifeblood of a producer’s creativity, when artists get together and stay in the studio for hours, making beats and cutting tracks. In sessions like these, the rappers, singers and producers profiled in our \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a> series forge musical collaborations and develop friendships that make major impacts on the current Bay Area hip-hop scene.\u003c/p>\n\u003cp>“There’s a level of unspoken trust, in that I can say these people are my friends and we make music together,” Falik says. “People come through and we make music and maybe hit up a bar. Music is my social life.”\u003c/p>\n\u003cp>Falik notably produced more tracks than any other producer on Caleborate’s excellent album \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">\u003cem>1993\u003c/em>\u003c/a> (\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">one of KQED’s favorites\u003c/a> of 2016). Throughout his five contributions to the album, Falik flexed his dynamic repertoire of styles from track to track, like the slow-burning “August 28th,” the glitchy bounce of “Mind Piece,” and the bombastic four-on-the-floor beat of “Consequences.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/254182822″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>But no JULiA LEWiS production has showcased Falik’s unique vision quite like — or garnered as much attention as — Rexx Life Raj’s “\u003ca href=\"https://www.youtube.com/watch?v=4CsOMbhDzQs\" rel=\"noopener\" target=\"_blank\">Handheld GPS\u003c/a>.” Falik’s beat is syncopated, unpredictable — its buzzing effects emulate the thoughts scattered through Raj’s lyrics as he ponders feeling lost despite having technology to guide his every move. It’s that perfect moment in hip-hop when the production doesn’t just complement the lyrics, but enhances them emotionally and allows them a deeper meaning.\u003c/p>\n\u003cp>“What I really like about his production is that there’s always an underlying smoothness to it,” Rexx Life Raj says of Falik. “His chord progressions are super clean and the way he incorporates live instrumentation and samples is unparalleled. ‘Handheld GPS’ is still my most popular record to date and one of the records that’s traveled the farthest for me. That’s a testament to our chemistry, but also his talent.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4CsOMbhDzQs\u003c/p>\n\u003cp>Falik first took an interest in beat production in Fortaleza, Brazil, as a student at Occidental College’s study abroad program. While on a weekend trip to Salvador, a city in Bahia known for its samba music and seafood (think of it as the New Orleans of Brazil), Falik found himself in the historic Pelourinho district watching a performance by famed samba drum school \u003ca href=\"https://en.wikipedia.org/wiki/Olodum\" target=\"_blank\" rel=\"noopener\">Olodum\u003c/a>.\u003c/p>\n\u003cp>Falik made a field recording of the drummers and brought it back to his host brother, who had a Brazilian guitar and wanted to record. “I put a Lil Wayne sample under Olodum drums and we did it,” Falik says with a chuckle and nostalgic gaze. “That rhythm of the drums and influence of Brazilian music — that was the first time I started making beats.”\u003c/p>\n\u003cp>In addition to supplying beats for an upcoming Rexx Life Raj album, Falik has recently collaborated with Canadian producer Ryan Hemsworth and Bay Area rapper-producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/18/behind-the-beats-p-lo/\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a> (also featured in \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>). But music is just a small part of his day-to-day. He does sales and marketing for \u003ca href=\"https://www.odangudon.com/\" target=\"_blank\" rel=\"noopener\">Odang Udon\u003c/a>, a fresh, pre-packaged Udon brand that he co-owns, as well as marketing and product design for \u003ca href=\"https://www.buenavistapreroll.com/welcome-to-buena-vista-pre-roll/\" target=\"_blank\" rel=\"noopener\">Buena Vista\u003c/a> pre-rolls, a cannabis company of which he also owns a small part.\u003c/p>\n\u003cp>“I took communication and product strategy from the ad world, but I guess I just didn’t want to enact someone else’s plan anymore as much as something that’s yours that you give a shit about,” he says. “Music is a similar hustle. It takes a certain amount of grit to keep going.”\u003c/p>\n\u003cfigure id=\"attachment_13812019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg\" alt=\"Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the full-time music career he envisioned two years ago hasn’t overtaken his schedule exactly as planned, his production skills continue to rise to the top of the local hip-hop scene.\u003c/p>\n\u003cp>“I don’t have a finite image of success in my head. It’s not money and it’s not followers,” Falik says. “That being said, I continue to feel love from people who listen. The music I make isn’t mine: It’s like I’m picking up on a frequency… I can’t trace it back to anything but love. But it’s one of the only things that makes me feel like I can communicate and express fully.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Meet the producer of Rexx Life Raj's \"Handheld GPS\" and Caleborate's \"Consequences.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>In 2015, Ben Falik, a.k.a. \u003ca href=\"https://soundcloud.com/thejulialewis\" target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, was unfulfilled with his job at an ad agency. When we \u003ca href=\"http://pigeonsandplanes.com/in-depth/2015/02/14-rising-bay-area-artists-you-should-know/rey-res\" target=\"_blank\" rel=\"noopener\">sat down to talk\u003c/a> that year, the Berkeley-born producer was hoping to quit his job to focus on a musical career. Falik had only a handful of production credits to his name back then, the most high-profile being a collaboration with former Zion I producer Amp Live. He spoke of San Francisco producer \u003ca href=\"https://soundcloud.com/mr_carmack\" target=\"_blank\" rel=\"noopener\">Mr. Carmack\u003c/a> with reverence; his eyes lit up when he talked about his “dream” of collaborating with the Mad Decent- and Soulection-affiliated artist someday.\u003c/p>\n\u003cp>Now, two and a half years later, Falik is in his home studio in San Francisco, still beaming from the early September release of his track “On The Regular,” which he co-produced with Mikos Da Gawd (featured in an earlier installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/10/16/behind-the-beats-mikos-da-gawd/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>), Oakland rapper-producer Elujay, and his dream collaborator, Mr. Carmack. He turns up the volume, bites his lower lip and bounces in his seat with pride.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339511023″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339511023″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I connected to him through Mikos. We were here and he says, ‘Aaron (Carmack) wants to come over, you wanna hang?’” Falik says. “We did six tracks that one session, and now those tracks are developing into songs — the first one just dropped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Impromptu studio sessions like the one Falik describes are the lifeblood of a producer’s creativity, when artists get together and stay in the studio for hours, making beats and cutting tracks. In sessions like these, the rappers, singers and producers profiled in our \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a> series forge musical collaborations and develop friendships that make major impacts on the current Bay Area hip-hop scene.\u003c/p>\n\u003cp>“There’s a level of unspoken trust, in that I can say these people are my friends and we make music together,” Falik says. “People come through and we make music and maybe hit up a bar. Music is my social life.”\u003c/p>\n\u003cp>Falik notably produced more tracks than any other producer on Caleborate’s excellent album \u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">\u003cem>1993\u003c/em>\u003c/a> (\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\" target=\"_blank\" rel=\"noopener\">one of KQED’s favorites\u003c/a> of 2016). Throughout his five contributions to the album, Falik flexed his dynamic repertoire of styles from track to track, like the slow-burning “August 28th,” the glitchy bounce of “Mind Piece,” and the bombastic four-on-the-floor beat of “Consequences.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/254182822″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/254182822″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But no JULiA LEWiS production has showcased Falik’s unique vision quite like — or garnered as much attention as — Rexx Life Raj’s “\u003ca href=\"https://www.youtube.com/watch?v=4CsOMbhDzQs\" rel=\"noopener\" target=\"_blank\">Handheld GPS\u003c/a>.” Falik’s beat is syncopated, unpredictable — its buzzing effects emulate the thoughts scattered through Raj’s lyrics as he ponders feeling lost despite having technology to guide his every move. It’s that perfect moment in hip-hop when the production doesn’t just complement the lyrics, but enhances them emotionally and allows them a deeper meaning.\u003c/p>\n\u003cp>“What I really like about his production is that there’s always an underlying smoothness to it,” Rexx Life Raj says of Falik. “His chord progressions are super clean and the way he incorporates live instrumentation and samples is unparalleled. ‘Handheld GPS’ is still my most popular record to date and one of the records that’s traveled the farthest for me. That’s a testament to our chemistry, but also his talent.”\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/4CsOMbhDzQs'\n title='//www.youtube.com/embed/4CsOMbhDzQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Falik first took an interest in beat production in Fortaleza, Brazil, as a student at Occidental College’s study abroad program. While on a weekend trip to Salvador, a city in Bahia known for its samba music and seafood (think of it as the New Orleans of Brazil), Falik found himself in the historic Pelourinho district watching a performance by famed samba drum school \u003ca href=\"https://en.wikipedia.org/wiki/Olodum\" target=\"_blank\" rel=\"noopener\">Olodum\u003c/a>.\u003c/p>\n\u003cp>Falik made a field recording of the drummers and brought it back to his host brother, who had a Brazilian guitar and wanted to record. “I put a Lil Wayne sample under Olodum drums and we did it,” Falik says with a chuckle and nostalgic gaze. “That rhythm of the drums and influence of Brazilian music — that was the first time I started making beats.”\u003c/p>\n\u003cp>In addition to supplying beats for an upcoming Rexx Life Raj album, Falik has recently collaborated with Canadian producer Ryan Hemsworth and Bay Area rapper-producer \u003ca href=\"https://ww2.kqed.org/arts/2017/10/18/behind-the-beats-p-lo/\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a> (also featured in \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">Behind The Beats\u003c/a>). But music is just a small part of his day-to-day. He does sales and marketing for \u003ca href=\"https://www.odangudon.com/\" target=\"_blank\" rel=\"noopener\">Odang Udon\u003c/a>, a fresh, pre-packaged Udon brand that he co-owns, as well as marketing and product design for \u003ca href=\"https://www.buenavistapreroll.com/welcome-to-buena-vista-pre-roll/\" target=\"_blank\" rel=\"noopener\">Buena Vista\u003c/a> pre-rolls, a cannabis company of which he also owns a small part.\u003c/p>\n\u003cp>“I took communication and product strategy from the ad world, but I guess I just didn’t want to enact someone else’s plan anymore as much as something that’s yours that you give a shit about,” he says. “Music is a similar hustle. It takes a certain amount of grit to keep going.”\u003c/p>\n\u003cfigure id=\"attachment_13812019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg\" alt=\"Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Ben-65-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside of music, JULiA LEWiS is also an entrepreneur with ventures in food and cannabis. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the full-time music career he envisioned two years ago hasn’t overtaken his schedule exactly as planned, his production skills continue to rise to the top of the local hip-hop scene.\u003c/p>\n\u003cp>“I don’t have a finite image of success in my head. It’s not money and it’s not followers,” Falik says. “That being said, I continue to feel love from people who listen. The music I make isn’t mine: It’s like I’m picking up on a frequency… I can’t trace it back to anything but love. But it’s one of the only things that makes me feel like I can communicate and express fully.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I love \u003ca href=\"http://mikeeagle.net/\" target=\"_blank\" rel=\"noopener\">Open Mike Eagle\u003c/a>. He’s kind of a geek, wearing glasses and rapping about everything from iPads to the Robert Taylor Homes, a Chicago housing project that was home to members of his family for years before it was demolished. He’s also a film and TV writer and Comedy Central has picked up a series based on his live show with Baron Vaughn, ‘The New Negroes.’ You won’t see a more thoughtful show this year. For his gig at the Independent in San Francisco, \u003ca href=\"http://www.theindependentsf.com/event/1521338-open-mike-eagle-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BnSVqxYSPPY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. \u003c/em>\u003c/p>\n\u003cp>Everything is large about Studio A at \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener\">Different Fur Studios\u003c/a> in San Francisco’s Mission district. The elevated mixing console goes from one end of the room to the other; a wall-to-wall window looks into the massive isolation room; two 300-pound Westlake Audio monitors flank a flat screen TV hanging above the window. The room almost feels like a spaceship command center.\u003c/p>\n\u003cp>This is where Oakland producer \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a> (neé Andrew Arnett) sits by himself on a Wednesday afternoon. Arnett looks small amid these imposing surroundings, but he speaks with boss-like matter-of-factness, waxing philosophical about the music industry as he listens to a remix of Cardi B’s “Bodak Yellow” and eats a Pepperidge Farm cookie.\u003c/p>\n\u003cp>“This song is a stripper anthem,” he says, finishing the bag of cookies. “But it’s bigger than that ’cause she says she’s not strippin’ anymore.”\u003c/p>\n\u003cp>The Oakland School For The Arts grad is modestly clad in black skinny jeans and a plain gray T-shirt, his buzzed hair dyed bright red. The hair is a subtle stroke of flamboyance for the usually low-key bass player and producer who, modesty aside, has worked with some the Bay Area’s biggest rising stars. His credits include Kamaiyah’s “I’m On,” Rexx Life Raj and ymtk’s “\u003ca href=\"https://soundcloud.com/i_am_ymtk/rexx-life-raj-x-ymtk-whats-up-prod-by-drew-banga\" target=\"_blank\" rel=\"noopener\">What’s Up\u003c/a>,” 1-O.A.K.’s “Lost & Found” (which he co-produced with Kuya Beats) and Caleborate’s latest single, “\u003ca href=\"https://soundcloud.com/caleborate/bankrobber\" target=\"_blank\" rel=\"noopener\">Bankrobber\u003c/a>” (with Chose1). He’s also the musical director for \u003ca href=\"http://www.duckwrth.com/\" target=\"_blank\" rel=\"noopener\">Duckwrth\u003c/a>, overseeing every aspect of his live show and producing for the the Republic Records-signed rapper and singer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/334982094″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“There’s not an artist in the Bay I haven’t produced for, done a song with or gone on tour with,” Arnett says. “I’m a producer. I don’t sing, but I write. I try to make whatever I put my hands on better than what I heard before. And I’m all about cultivating people’s sound.”\u003c/p>\n\u003cp>Arnett didn’t start producing professionally until a year before making the “I’m On” beat for Kamaiyah in 2015. “I just wanted to be a touring bass player,” he says.\u003c/p>\n\u003cp>He was making beats and “giving ‘em away” when he realize he could make the type of music he was actually listening to.\u003c/p>\n\u003cp>https://youtu.be/J3QkH9ArfJU\u003c/p>\n\u003cp>With “I’m On,” Arnett was kicking around a sample from LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=Ya8Qp_RVxYU\" target=\"_blank\" rel=\"noopener\">Loungin (Who Do Ya Love)\u003c/a>” in a production session for Kamaiyah with fellow Bay Area producers Trackademics and 1-O.A.K. (In addition to “I’m On” from \u003cem>A Good Night in the Ghetto\u003c/em>, the three of them produced much of Kamaiyah’s highly-anticipated, forthcoming sophomore album.)\u003c/p>\n\u003cp>“I used the original \u003ca href=\"https://www.youtube.com/watch?v=XT48-LLs0tI\" target=\"_blank\" rel=\"noopener\">Bernard Wright\u003c/a> sample instead,” Arnett says. “It’s a four on the floor beat, so this one had different time signatures. Everything is upbeat here. I knew what I wanted to do ’cause everything I do is dramatic, ominous and deep. I had the foundation and built on top. It was exciting to make it cause I didn’t think about it, just heard a tempo and then cut it. I knew how I wanted it to bounce.”\u003c/p>\n\u003cp>https://youtu.be/P8G8Iw8VHNs\u003c/p>\n\u003cp>Generally speaking, Arnett says he shies away from samples because the tedious process of clearing them affects his creativity. But a Drew Banga cut usually has a throwback feel, with bass lines that leave a lasting mark. “I’m lucky ’cause I play bass, so I can hear sounds and then play them,” he says. Whether he’s cutting up a vintage sample on “I’m On” or playing the silky bassline himself in “Bankrobber,” there’s an underlying raw, organic instrumental sound that makes Arnett’s production stand out. His collaborators agree.\u003c/p>\n\u003cp>“I remember when he sent me the beat. I was like, ‘Oh yup! We got another one!’” Caleborate says of “Bankrobber.” “It took me a few weeks to get hit with the inspiration. But once I did, it felt like magic. To this day I still get hit with the same feeling every time I listen.”\u003c/p>\n\u003cp>Of all of Arnett’s creations, he’s proudest of his children. A father of three, Arnett still lives in East Oakland, where he grew up. His oldest daughter is already taking after her old man at seven years old: Impressively enough, she has her own arts organization called \u003ca href=\"https://www.faithcreations.org/\" target=\"_blank\" rel=\"noopener\">Faith Creations\u003c/a>, which helps kids ages three and up explore their artistic sides. “She has her own art gallery. She does ballet and she likes to DJ,” he says with a smile. “It takes a village to raise children though.”\u003c/p>\n\u003cp>Now a full-time producer and musician, Arnett spends most of his time at Different Fur as an in-house producer for the studio-affiliated label, \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>. He has his gripes with the lack of an industry infrastructure in the Bay Area but sees his affiliation with Text Me as a tipping point.\u003c/p>\n\u003cfigure id=\"attachment_13811388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg\" alt=\"Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I work closely with artists at Text Me and I’m gonna be able to put the spotlight on a lot of artists in the Bay. Kinda like A&R-ing, but I’m producing too. The artist can be nobody and the producer can have such a big name and the song can go platinum. That’s what I want to do.”\u003c/p>\n\u003cp>As we’ll examine later in this week’s series, the trend for successful hip-hop producers in the Bay has been to move to bigger markets — primarily Los Angeles — to take the next step in their careers. But for now, Arnett is home.\u003c/p>\n\u003cp>“I don’t want to say I wanna be like Pharrell, but that’s kinda what I wanna be like,” he says. “His name reigns in everything that’s artistic. Why can’t I just be that person to make sure the Bay gets noticed too?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. \u003c/em>\u003c/p>\n\u003cp>Everything is large about Studio A at \u003ca href=\"http://differentfurstudios.com/\" target=\"_blank\" rel=\"noopener\">Different Fur Studios\u003c/a> in San Francisco’s Mission district. The elevated mixing console goes from one end of the room to the other; a wall-to-wall window looks into the massive isolation room; two 300-pound Westlake Audio monitors flank a flat screen TV hanging above the window. The room almost feels like a spaceship command center.\u003c/p>\n\u003cp>This is where Oakland producer \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a> (neé Andrew Arnett) sits by himself on a Wednesday afternoon. Arnett looks small amid these imposing surroundings, but he speaks with boss-like matter-of-factness, waxing philosophical about the music industry as he listens to a remix of Cardi B’s “Bodak Yellow” and eats a Pepperidge Farm cookie.\u003c/p>\n\u003cp>“This song is a stripper anthem,” he says, finishing the bag of cookies. “But it’s bigger than that ’cause she says she’s not strippin’ anymore.”\u003c/p>\n\u003cp>The Oakland School For The Arts grad is modestly clad in black skinny jeans and a plain gray T-shirt, his buzzed hair dyed bright red. The hair is a subtle stroke of flamboyance for the usually low-key bass player and producer who, modesty aside, has worked with some the Bay Area’s biggest rising stars. His credits include Kamaiyah’s “I’m On,” Rexx Life Raj and ymtk’s “\u003ca href=\"https://soundcloud.com/i_am_ymtk/rexx-life-raj-x-ymtk-whats-up-prod-by-drew-banga\" target=\"_blank\" rel=\"noopener\">What’s Up\u003c/a>,” 1-O.A.K.’s “Lost & Found” (which he co-produced with Kuya Beats) and Caleborate’s latest single, “\u003ca href=\"https://soundcloud.com/caleborate/bankrobber\" target=\"_blank\" rel=\"noopener\">Bankrobber\u003c/a>” (with Chose1). He’s also the musical director for \u003ca href=\"http://www.duckwrth.com/\" target=\"_blank\" rel=\"noopener\">Duckwrth\u003c/a>, overseeing every aspect of his live show and producing for the the Republic Records-signed rapper and singer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/334982094″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/334982094″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There’s not an artist in the Bay I haven’t produced for, done a song with or gone on tour with,” Arnett says. “I’m a producer. I don’t sing, but I write. I try to make whatever I put my hands on better than what I heard before. And I’m all about cultivating people’s sound.”\u003c/p>\n\u003cp>Arnett didn’t start producing professionally until a year before making the “I’m On” beat for Kamaiyah in 2015. “I just wanted to be a touring bass player,” he says.\u003c/p>\n\u003cp>He was making beats and “giving ‘em away” when he realize he could make the type of music he was actually listening to.\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/J3QkH9ArfJU'\n title='//www.youtube.com/embed/J3QkH9ArfJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With “I’m On,” Arnett was kicking around a sample from LL Cool J’s “\u003ca href=\"https://www.youtube.com/watch?v=Ya8Qp_RVxYU\" target=\"_blank\" rel=\"noopener\">Loungin (Who Do Ya Love)\u003c/a>” in a production session for Kamaiyah with fellow Bay Area producers Trackademics and 1-O.A.K. (In addition to “I’m On” from \u003cem>A Good Night in the Ghetto\u003c/em>, the three of them produced much of Kamaiyah’s highly-anticipated, forthcoming sophomore album.)\u003c/p>\n\u003cp>“I used the original \u003ca href=\"https://www.youtube.com/watch?v=XT48-LLs0tI\" target=\"_blank\" rel=\"noopener\">Bernard Wright\u003c/a> sample instead,” Arnett says. “It’s a four on the floor beat, so this one had different time signatures. Everything is upbeat here. I knew what I wanted to do ’cause everything I do is dramatic, ominous and deep. I had the foundation and built on top. It was exciting to make it cause I didn’t think about it, just heard a tempo and then cut it. I knew how I wanted it to bounce.”\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/P8G8Iw8VHNs'\n title='//www.youtube.com/embed/P8G8Iw8VHNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Generally speaking, Arnett says he shies away from samples because the tedious process of clearing them affects his creativity. But a Drew Banga cut usually has a throwback feel, with bass lines that leave a lasting mark. “I’m lucky ’cause I play bass, so I can hear sounds and then play them,” he says. Whether he’s cutting up a vintage sample on “I’m On” or playing the silky bassline himself in “Bankrobber,” there’s an underlying raw, organic instrumental sound that makes Arnett’s production stand out. His collaborators agree.\u003c/p>\n\u003cp>“I remember when he sent me the beat. I was like, ‘Oh yup! We got another one!’” Caleborate says of “Bankrobber.” “It took me a few weeks to get hit with the inspiration. But once I did, it felt like magic. To this day I still get hit with the same feeling every time I listen.”\u003c/p>\n\u003cp>Of all of Arnett’s creations, he’s proudest of his children. A father of three, Arnett still lives in East Oakland, where he grew up. His oldest daughter is already taking after her old man at seven years old: Impressively enough, she has her own arts organization called \u003ca href=\"https://www.faithcreations.org/\" target=\"_blank\" rel=\"noopener\">Faith Creations\u003c/a>, which helps kids ages three and up explore their artistic sides. “She has her own art gallery. She does ballet and she likes to DJ,” he says with a smile. “It takes a village to raise children though.”\u003c/p>\n\u003cp>Now a full-time producer and musician, Arnett spends most of his time at Different Fur as an in-house producer for the studio-affiliated label, \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener\">Text Me Records\u003c/a>. He has his gripes with the lack of an industry infrastructure in the Bay Area but sees his affiliation with Text Me as a tipping point.\u003c/p>\n\u003cfigure id=\"attachment_13811388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg\" alt=\"Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Drew-28-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drew Banga started his career with the goal of becoming a tour bassist but now has ambitions to top the charts. \u003ccite>(Kristina Bakrevski )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I work closely with artists at Text Me and I’m gonna be able to put the spotlight on a lot of artists in the Bay. Kinda like A&R-ing, but I’m producing too. The artist can be nobody and the producer can have such a big name and the song can go platinum. That’s what I want to do.”\u003c/p>\n\u003cp>As we’ll examine later in this week’s series, the trend for successful hip-hop producers in the Bay has been to move to bigger markets — primarily Los Angeles — to take the next step in their careers. But for now, Arnett is home.\u003c/p>\n\u003cp>“I don’t want to say I wanna be like Pharrell, but that’s kinda what I wanna be like,” he says. “His name reigns in everything that’s artistic. Why can’t I just be that person to make sure the Bay gets noticed too?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. \u003c/em>\u003c/p>\n\u003cp>Miles Douglas walks up Bernal Hill on a brisk Tuesday afternoon when something catches his attention. Douglas, more commonly known by his production moniker, \u003ca href=\"https://soundcloud.com/mikosdagawd\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a>, stops his stride and turns to face a memorial for Alex Nieto, the 28-year-old Bernal Heights resident who was shot and killed by four San Francisco police officers in 2014.\u003c/p>\n\u003cp>“I have to say a prayer real quick,” Douglas says before bowing towards the makeshift shrine.\u003c/p>\n\u003cp>“He was a close friend of mine.”\u003c/p>\n\u003cp>The 29-year-old Douglas was raised in a Buddhist household in Bayview and met Nieto through \u003ca href=\"http://www.sgi.org/\" target=\"_blank\" rel=\"noopener\">Soka Gakkai International\u003c/a>, a diverse Buddhist center of which both men were members. Soka Gakkai says it promotes “peace, culture and education through personal transformation and social contribution” and Douglas’ stoic, calm nature emulates this maxim. He talks about a Buddhist retreat he went on with Nieto and four other friends a while back. Two of them are now dead, he says. When he mentions an aunt who took her own life when he was younger, he speaks with gravity but maintains an aura of serenity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I dealt with death early,” he says. “It’s a trip how life goes.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/341950493″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Despite life’s ups and downs, poise seems to be Douglas’ constant. As one of the Bay Area’s most prolific producers, he’s trusted with providing a musical canvas for singers and rappers, allowing them to showcase their vocal talents by grounding their projects in a unified aesthetic. Douglas first gained recognition when he was featured on one of the first \u003cem>White Label\u003c/em> releases from popular L.A.-based collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a> in 2014; that same year, he produced a cut on budding superstar Anderson .Paak’s debut LP, \u003cem>Venice\u003c/em>. The track, “\u003ca href=\"https://soundcloud.com/andersonpaak/07-already-ft-sir-prod-mikos\" target=\"_blank\" rel=\"noopener\">Already\u003c/a>,” was recently featured on HBO’s hit series \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>Douglas also co-produced San Francisco nerd-rapper Watsky’s hit “\u003ca href=\"https://www.youtube.com/watch?v=XVQOhIVcMj0\" target=\"_blank\" rel=\"noopener\">Whoa, Whoa, Whoa\u003c/a>” with fellow local Mr. Carmack, his high school classmate. These days, Mikos Da Gawd is a go-to beatmaker for some of the Bay Area’s best rappers, including Caleborate, Zion I, Jay Ant, Rexx Life Raj, and Elujay, as well as R&B singer \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>.\u003c/p>\n\u003cp>Among his credits with Jay is her 2016 break-out single “Sleepy Brown,” perhaps one of the most fluid productions to come out of the Bay Area that year. It features a soulful groove, clean bounce, sticky break beat and whirring keys spinning around Jay’s blissful vocals. Jay says their collaborative process was natural and that Douglas just went to work. “I was looking for a sound and without explaining what that sound was, he just had it,” she says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/275660529″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Ask any vocalist and they’ll tell you a producer’s role is tantamount to theirs, but Douglas’ emphasis on old-school musicianship is refreshing. He breaks down the “Sleepy Brown” beat with an orchestra conductor’s vernacular.\u003c/p>\n\u003cp>“I started playing piano when I was 19 or 20 and I learned how to compose funky, sophisticated chord progressions,” he says. “Those combined with that bounce — it’s hip-hop, but also deep house, just slower. There’s sub-bass underneath each chord and legato and staccato beats. In a way, that song was kind of a coming out party for me. ‘Cause the Soulection stuff had died down, so it left me super hungry to continue to grow.”\u003c/p>\n\u003cp>Playing piano sets Douglas apart from producers who primarily work with Ableton Live or Logic, but his obsession with production software began at A.P. Giannini Middle School in the Sunset district.\u003c/p>\n\u003cp>“There was a DJ club at school and they were teaching Fruity Loops [production software]. It was like a bomb went off in my brain. I didn’t even look outside for a while. I was trying to learn how to produce and DJ for so long.”\u003c/p>\n\u003cfigure id=\"attachment_13811151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-800x533.jpg\" alt=\"A Bayview native, Mikos Da Gawd leans on his Buddhist faith for strength.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikos Da Gawd often leans on his Buddhist faith for strength. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Douglas still relishes that time indoors, tucked away in the studio — except he’s not always by himself anymore. Just as producers and vocalists need each other, fellow producers can drive one another’s creativity. Douglas is part of a loosely formed Bay Area collective of hip-hop producers, many of whom we’ll be profiling this week as part of this series. “In producer culture, we stay in a room and work,” he says. “It’s about bringing people together and creating these collages.”\u003c/p>\n\u003cp>As we descend back down Bernal Hill, Douglas points to San Francisco General Hospital in the distance. “I was born right there,” he says. On the lower part of the hill, the cold wind chill dies down and a warm breeze sweeps across his open black hoodie. He stares at the building where his life began and ponders his purpose.\u003c/p>\n\u003cp>“People lose sight of the fact that you can make a huge impact while remaining mysterious,” he says. “That’s kinda why I got into producing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" rel=\"noopener\" target=\"_blank\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. \u003c/em>\u003c/p>\n\u003cp>Miles Douglas walks up Bernal Hill on a brisk Tuesday afternoon when something catches his attention. Douglas, more commonly known by his production moniker, \u003ca href=\"https://soundcloud.com/mikosdagawd\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a>, stops his stride and turns to face a memorial for Alex Nieto, the 28-year-old Bernal Heights resident who was shot and killed by four San Francisco police officers in 2014.\u003c/p>\n\u003cp>“I have to say a prayer real quick,” Douglas says before bowing towards the makeshift shrine.\u003c/p>\n\u003cp>“He was a close friend of mine.”\u003c/p>\n\u003cp>The 29-year-old Douglas was raised in a Buddhist household in Bayview and met Nieto through \u003ca href=\"http://www.sgi.org/\" target=\"_blank\" rel=\"noopener\">Soka Gakkai International\u003c/a>, a diverse Buddhist center of which both men were members. Soka Gakkai says it promotes “peace, culture and education through personal transformation and social contribution” and Douglas’ stoic, calm nature emulates this maxim. He talks about a Buddhist retreat he went on with Nieto and four other friends a while back. Two of them are now dead, he says. When he mentions an aunt who took her own life when he was younger, he speaks with gravity but maintains an aura of serenity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I dealt with death early,” he says. “It’s a trip how life goes.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/341950493″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/341950493″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Despite life’s ups and downs, poise seems to be Douglas’ constant. As one of the Bay Area’s most prolific producers, he’s trusted with providing a musical canvas for singers and rappers, allowing them to showcase their vocal talents by grounding their projects in a unified aesthetic. Douglas first gained recognition when he was featured on one of the first \u003cem>White Label\u003c/em> releases from popular L.A.-based collective \u003ca href=\"https://soulection.com/\" target=\"_blank\" rel=\"noopener\">Soulection\u003c/a> in 2014; that same year, he produced a cut on budding superstar Anderson .Paak’s debut LP, \u003cem>Venice\u003c/em>. The track, “\u003ca href=\"https://soundcloud.com/andersonpaak/07-already-ft-sir-prod-mikos\" target=\"_blank\" rel=\"noopener\">Already\u003c/a>,” was recently featured on HBO’s hit series \u003cem>Insecure\u003c/em>.\u003c/p>\n\u003cp>Douglas also co-produced San Francisco nerd-rapper Watsky’s hit “\u003ca href=\"https://www.youtube.com/watch?v=XVQOhIVcMj0\" target=\"_blank\" rel=\"noopener\">Whoa, Whoa, Whoa\u003c/a>” with fellow local Mr. Carmack, his high school classmate. These days, Mikos Da Gawd is a go-to beatmaker for some of the Bay Area’s best rappers, including Caleborate, Zion I, Jay Ant, Rexx Life Raj, and Elujay, as well as R&B singer \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>.\u003c/p>\n\u003cp>Among his credits with Jay is her 2016 break-out single “Sleepy Brown,” perhaps one of the most fluid productions to come out of the Bay Area that year. It features a soulful groove, clean bounce, sticky break beat and whirring keys spinning around Jay’s blissful vocals. Jay says their collaborative process was natural and that Douglas just went to work. “I was looking for a sound and without explaining what that sound was, he just had it,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/275660529″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/275660529″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Ask any vocalist and they’ll tell you a producer’s role is tantamount to theirs, but Douglas’ emphasis on old-school musicianship is refreshing. He breaks down the “Sleepy Brown” beat with an orchestra conductor’s vernacular.\u003c/p>\n\u003cp>“I started playing piano when I was 19 or 20 and I learned how to compose funky, sophisticated chord progressions,” he says. “Those combined with that bounce — it’s hip-hop, but also deep house, just slower. There’s sub-bass underneath each chord and legato and staccato beats. In a way, that song was kind of a coming out party for me. ‘Cause the Soulection stuff had died down, so it left me super hungry to continue to grow.”\u003c/p>\n\u003cp>Playing piano sets Douglas apart from producers who primarily work with Ableton Live or Logic, but his obsession with production software began at A.P. Giannini Middle School in the Sunset district.\u003c/p>\n\u003cp>“There was a DJ club at school and they were teaching Fruity Loops [production software]. It was like a bomb went off in my brain. I didn’t even look outside for a while. I was trying to learn how to produce and DJ for so long.”\u003c/p>\n\u003cfigure id=\"attachment_13811151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-800x533.jpg\" alt=\"A Bayview native, Mikos Da Gawd leans on his Buddhist faith for strength.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/KQED_Mikos-118-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikos Da Gawd often leans on his Buddhist faith for strength. \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Douglas still relishes that time indoors, tucked away in the studio — except he’s not always by himself anymore. Just as producers and vocalists need each other, fellow producers can drive one another’s creativity. Douglas is part of a loosely formed Bay Area collective of hip-hop producers, many of whom we’ll be profiling this week as part of this series. “In producer culture, we stay in a room and work,” he says. “It’s about bringing people together and creating these collages.”\u003c/p>\n\u003cp>As we descend back down Bernal Hill, Douglas points to San Francisco General Hospital in the distance. “I was born right there,” he says. On the lower part of the hill, the cold wind chill dies down and a warm breeze sweeps across his open black hoodie. He stares at the building where his life began and ponders his purpose.\u003c/p>\n\u003cp>“People lose sight of the fact that you can make a huge impact while remaining mysterious,” he says. “That’s kinda why I got into producing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" rel=\"noopener\" target=\"_blank\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Eminem, Kaepernick and Who Gets Credit for Calling Out Trump",
"headTitle": "Eminem, Kaepernick and Who Gets Credit for Calling Out Trump | KQED",
"content": "\u003cp>The internet is aflame with praise for Eminem, who slammed Trump from every conceivable angle in a freestyle at the \u003ca href=\"http://www.bet.com/shows/hip-hop-awards.html\" target=\"_blank\" rel=\"noopener\">BET Hip Hop Awards\u003c/a> last night on Oct. 10. The Detroit rapper took the president to task for his cozy relationships with white supremacists, his inaction in the face of tragedies in Las Vegas and Puerto Rico, his constant golf trips, and his petty Twitter beefs with celebrities and \u003ca href=\"https://ww2.kqed.org/news/2017/09/27/curry-to-trump-kneeling-is-all-about-race/\" target=\"_blank\" rel=\"noopener\">athletes\u003c/a>. “He’s bored and would rather cause a Twitter storm with the Packers,” Eminem spits as he paces around a dim Detroit parking garage. Like the \u003ca href=\"https://projects.fivethirtyeight.com/trump-approval-ratings/\" target=\"_blank\" rel=\"noopener\">other 56 percent\u003c/a> of Americans who currently disapprove of Trump, it seems that Eminem has finally had enough.\u003c/p>\n\u003cp>https://youtu.be/LunHybOKIjU\u003c/p>\n\u003cp>At three minutes and 32 seconds in, Eminem raises his fist high and says “This is for Colin / Ball up a fist / And keep that shit bald / Like Donald the bitch,” shouting out former San Francisco 49ers quarterback \u003ca href=\"https://ww2.kqed.org/arts/2017/09/26/america-and-colin-kaepernick-needs-a-new-contract/\" target=\"_blank\" rel=\"noopener\">Colin Kaepernick\u003c/a>, whose kneeling protest against racism and police brutality galvanized a wave of political activism from fellow athletes, many of whom have also taken knees during the national anthem to protest the Trump administration. (The Oakland Raiders’ own Marshawn Lynch recently made waves with his “Everybody vs Trump” T-shirt, a design from Dope Era, \u003ca href=\"https://ww2.kqed.org/arts/2017/04/03/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd/\" target=\"_blank\" rel=\"noopener\">Oakland rapper Mistah F.A.B.’s clothing label\u003c/a>.)\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">2020 presidential candidate Marshawn Lynch wearing an “Everybody vs. Trump” shirt today. \u003ca href=\"https://t.co/bA58tktjTm\">pic.twitter.com/bA58tktjTm\u003c/a>\u003c/p>\n\u003cp>— Jeff Eisenband (@JeffEisenband) \u003ca href=\"https://twitter.com/JeffEisenband/status/914569826353467393?ref_src=twsrc%5Etfw\">October 1, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Since the Eminem freestyle started making the rounds, Kaepernick took to Twitter to praise Eminem, and so did many prominent figures from the sports and entertainment worlds, including LeBron James and veteran sports commentator Keith Olbermann, who apparently is now a newly minted rap fan thanks to Eminem.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">I appreciate you \u003ca href=\"https://twitter.com/Eminem?ref_src=twsrc%5Etfw\">@Eminem\u003c/a> ✊🏾 \u003ca href=\"https://t.co/nwavBwsOkQ\">pic.twitter.com/nwavBwsOkQ\u003c/a>\u003c/p>\n\u003cp>— Colin Kaepernick (@Kaepernick7) \u003ca href=\"https://twitter.com/Kaepernick7/status/917955545197314048?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Racism is the only thing he’s Fantastic 4(fantastic for), cause that’s how he gets his rock off, he’s orange. Sheesh \u003ca href=\"https://twitter.com/Eminem?ref_src=twsrc%5Etfw\">@Eminem\u003c/a>!! 🔥🔥✊🏾🔥🔥\u003ca href=\"https://twitter.com/hashtag/United?src=hash&ref_src=twsrc%5Etfw\">#United\u003c/a> \u003ca href=\"https://t.co/wcL28BCWpy\">pic.twitter.com/wcL28BCWpy\u003c/a>\u003c/p>\n\u003cp>— LeBron James (@KingJames) \u003ca href=\"https://twitter.com/KingJames/status/917961576350699520?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">After 27 years of doubts about rap I am now an \u003ca href=\"https://twitter.com/Eminem?ref_src=twsrc%5Etfw\">@Eminem\u003c/a> fan.\u003c/p>\n\u003cp>Best political writing of the year, period. 👏👏👏👏👏\u003ca href=\"https://twitter.com/hashtag/Eminem2020?src=hash&ref_src=twsrc%5Etfw\">#Eminem2020\u003c/a> \u003ca href=\"https://t.co/yS2Y72n8WS\">https://t.co/yS2Y72n8WS\u003c/a>\u003c/p>\n\u003cp>— Keith Olbermann (@KeithOlbermann) \u003ca href=\"https://twitter.com/KeithOlbermann/status/917931141730009088?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Twitter users have not been remiss to point out that Eminem’s freestyle is not the best nor the most original Trump diss — L.A. rappers YG and Nipsey Hussle \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7348438/yg-secret-service-donald-trump-fdt\" target=\"_blank\" rel=\"noopener\">caught flack\u003c/a> last year for their much catchier pre-election slapper “FDT,” which later got a remix featuring Macklemore and Oakland’s G-Eazy as a gesture of racial unity. Whiz Ward, an Oakland native and member of the music collective HNRL, pointed out the irony of Olbermann and others praising Eminem, a white rapper, as the best thing that’s ever happened to a black art form.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">A white rapper makes a statement about a white supremacist president then is deemed the ONLY good thing about a historically black art-form? \u003ca href=\"https://t.co/y3roJIRuIt\">https://t.co/y3roJIRuIt\u003c/a>\u003c/p>\n\u003cp>— WHIZ WARD (@yopotnawhiz) \u003ca href=\"https://twitter.com/yopotnawhiz/status/918008735003394049?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Unfortunately but unsurprisingly, widespread praise for Eminem’s freestyle at a time when Kaepernick is blacklisted from the NFL shows that there are major racial disparities in how the public receives criticism against Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But because there can never be too many Trump diss tracks in your playlist, let’s look back at some of the best anti-Trump rap songs that’ve come out since he announced his presidential bid.\u003c/p>\n\u003cp>https://youtu.be/WkZ5e94QnWk\u003c/p>\n\u003cp>https://youtu.be/j9ja3i9u2Og\u003c/p>\n\u003cp>https://youtu.be/v0cHeM6C7_k\u003c/p>\n\u003cp>https://youtu.be/rhO0Exhmpdg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/j3Sj6VKYt4I\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The internet is aflame with praise for Eminem, who slammed Trump from every conceivable angle in a freestyle at the \u003ca href=\"http://www.bet.com/shows/hip-hop-awards.html\" target=\"_blank\" rel=\"noopener\">BET Hip Hop Awards\u003c/a> last night on Oct. 10. The Detroit rapper took the president to task for his cozy relationships with white supremacists, his inaction in the face of tragedies in Las Vegas and Puerto Rico, his constant golf trips, and his petty Twitter beefs with celebrities and \u003ca href=\"https://ww2.kqed.org/news/2017/09/27/curry-to-trump-kneeling-is-all-about-race/\" target=\"_blank\" rel=\"noopener\">athletes\u003c/a>. “He’s bored and would rather cause a Twitter storm with the Packers,” Eminem spits as he paces around a dim Detroit parking garage. Like the \u003ca href=\"https://projects.fivethirtyeight.com/trump-approval-ratings/\" target=\"_blank\" rel=\"noopener\">other 56 percent\u003c/a> of Americans who currently disapprove of Trump, it seems that Eminem has finally had enough.\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/LunHybOKIjU'\n title='//www.youtube.com/embed/LunHybOKIjU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At three minutes and 32 seconds in, Eminem raises his fist high and says “This is for Colin / Ball up a fist / And keep that shit bald / Like Donald the bitch,” shouting out former San Francisco 49ers quarterback \u003ca href=\"https://ww2.kqed.org/arts/2017/09/26/america-and-colin-kaepernick-needs-a-new-contract/\" target=\"_blank\" rel=\"noopener\">Colin Kaepernick\u003c/a>, whose kneeling protest against racism and police brutality galvanized a wave of political activism from fellow athletes, many of whom have also taken knees during the national anthem to protest the Trump administration. (The Oakland Raiders’ own Marshawn Lynch recently made waves with his “Everybody vs Trump” T-shirt, a design from Dope Era, \u003ca href=\"https://ww2.kqed.org/arts/2017/04/03/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd/\" target=\"_blank\" rel=\"noopener\">Oakland rapper Mistah F.A.B.’s clothing label\u003c/a>.)\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">2020 presidential candidate Marshawn Lynch wearing an “Everybody vs. Trump” shirt today. \u003ca href=\"https://t.co/bA58tktjTm\">pic.twitter.com/bA58tktjTm\u003c/a>\u003c/p>\n\u003cp>— Jeff Eisenband (@JeffEisenband) \u003ca href=\"https://twitter.com/JeffEisenband/status/914569826353467393?ref_src=twsrc%5Etfw\">October 1, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Since the Eminem freestyle started making the rounds, Kaepernick took to Twitter to praise Eminem, and so did many prominent figures from the sports and entertainment worlds, including LeBron James and veteran sports commentator Keith Olbermann, who apparently is now a newly minted rap fan thanks to Eminem.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">I appreciate you \u003ca href=\"https://twitter.com/Eminem?ref_src=twsrc%5Etfw\">@Eminem\u003c/a> ✊🏾 \u003ca href=\"https://t.co/nwavBwsOkQ\">pic.twitter.com/nwavBwsOkQ\u003c/a>\u003c/p>\n\u003cp>— Colin Kaepernick (@Kaepernick7) \u003ca href=\"https://twitter.com/Kaepernick7/status/917955545197314048?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Racism is the only thing he’s Fantastic 4(fantastic for), cause that’s how he gets his rock off, he’s orange. Sheesh \u003ca href=\"https://twitter.com/Eminem?ref_src=twsrc%5Etfw\">@Eminem\u003c/a>!! 🔥🔥✊🏾🔥🔥\u003ca href=\"https://twitter.com/hashtag/United?src=hash&ref_src=twsrc%5Etfw\">#United\u003c/a> \u003ca href=\"https://t.co/wcL28BCWpy\">pic.twitter.com/wcL28BCWpy\u003c/a>\u003c/p>\n\u003cp>— LeBron James (@KingJames) \u003ca href=\"https://twitter.com/KingJames/status/917961576350699520?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">After 27 years of doubts about rap I am now an \u003ca href=\"https://twitter.com/Eminem?ref_src=twsrc%5Etfw\">@Eminem\u003c/a> fan.\u003c/p>\n\u003cp>Best political writing of the year, period. 👏👏👏👏👏\u003ca href=\"https://twitter.com/hashtag/Eminem2020?src=hash&ref_src=twsrc%5Etfw\">#Eminem2020\u003c/a> \u003ca href=\"https://t.co/yS2Y72n8WS\">https://t.co/yS2Y72n8WS\u003c/a>\u003c/p>\n\u003cp>— Keith Olbermann (@KeithOlbermann) \u003ca href=\"https://twitter.com/KeithOlbermann/status/917931141730009088?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Twitter users have not been remiss to point out that Eminem’s freestyle is not the best nor the most original Trump diss — L.A. rappers YG and Nipsey Hussle \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7348438/yg-secret-service-donald-trump-fdt\" target=\"_blank\" rel=\"noopener\">caught flack\u003c/a> last year for their much catchier pre-election slapper “FDT,” which later got a remix featuring Macklemore and Oakland’s G-Eazy as a gesture of racial unity. Whiz Ward, an Oakland native and member of the music collective HNRL, pointed out the irony of Olbermann and others praising Eminem, a white rapper, as the best thing that’s ever happened to a black art form.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">A white rapper makes a statement about a white supremacist president then is deemed the ONLY good thing about a historically black art-form? \u003ca href=\"https://t.co/y3roJIRuIt\">https://t.co/y3roJIRuIt\u003c/a>\u003c/p>\n\u003cp>— WHIZ WARD (@yopotnawhiz) \u003ca href=\"https://twitter.com/yopotnawhiz/status/918008735003394049?ref_src=twsrc%5Etfw\">October 11, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Unfortunately but unsurprisingly, widespread praise for Eminem’s freestyle at a time when Kaepernick is blacklisted from the NFL shows that there are major racial disparities in how the public receives criticism against Trump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But because there can never be too many Trump diss tracks in your playlist, let’s look back at some of the best anti-Trump rap songs that’ve come out since he announced his presidential bid.\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/WkZ5e94QnWk'\n title='//www.youtube.com/embed/WkZ5e94QnWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://youtu.be/j9ja3i9u2Og\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/v0cHeM6C7_k'\n title='//www.youtube.com/embed/v0cHeM6C7_k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://youtu.be/rhO0Exhmpdg\u003c/p>\n\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/j3Sj6VKYt4I'\n title='//www.youtube.com/embed/j3Sj6VKYt4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Remembering DJ Stef, a Bay Area Underground Hip-Hop Icon",
"headTitle": "Remembering DJ Stef, a Bay Area Underground Hip-Hop Icon | KQED",
"content": "\u003cp>DJ Stef and I first met around 2011, when I, as a 21-year-old UC Berkeley student eager to leave campus and experience real culture, started frequenting Oakland warehouse parties. Though I barely knew anyone at first, many like-minded music lovers who lived for wild nights in dingy warehouses and dive bars turned into longtime friends. On one of those nights, in a venue that smelled like liquor, spray paint, and sweat, I met Stephanie Ornelas, a.k.a. \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ Stef\u003c/a>.\u003c/p>\n\u003cp>Like many, I was devastated to learn that Stef passed away from an unexpected heart attack at her San Francisco home on Sunday morning, leaving behind her husband, \u003ca href=\"http://stayhatin.com/\" rel=\"noopener\" target=\"_blank\">Sergio Ornelas\u003c/a>, and an enormous circle of friends and admirers. She was 55 — only a couple years older than my mom — and was universally beloved as the “cool aunt” of the local hip-hop scene. \u003c/p>\n\u003cp>Stef made an impact on Bay Area culture in innumerable ways. She was a gifted DJ with an enormous vinyl collection; a graphic designer and self-taught web developer with an impressive client base; a hip-hop journalist who enthusiastically embraced the internet before it became mainstream; and a gregarious networker who introduced future spouses, business partners, and creative collaborators to one another. \u003c/p>\n\u003cfigure id=\"attachment_13810236\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg\" alt=\"DJ Stef with Peanut Butter Wolf (left), Rascue (right), and DJ Serg (bottom). \" width=\"800\" height=\"547\" class=\"size-medium wp-image-13810236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Stef with Peanut Butter Wolf (left), RasCue (right), and DJ Serg (bottom).\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t know anyone in the Bay Area who attended as many shows as often as she did — her diehard fandom gave her more stamina than music fans my own age. Whether in the audience or behind the decks, Stef always wore a band tee and an effusive smile, ready to share a laugh and geek out about mutual faves like E-40. And even though she rubbed shoulders with prominent figures like \u003ca href=\"http://www.legendarymusic.net/\" rel=\"noopener\" target=\"_blank\">Living Legends\u003c/a>, \u003ca href=\"https://www.stonesthrow.com/pbwolf\" rel=\"noopener\" target=\"_blank\">Peanut Butter Wolf\u003c/a>, and \u003ca href=\"https://www.facebook.com/djztrip/\" rel=\"noopener\" target=\"_blank\">Z-Trip\u003c/a> over her three-decade-plus tenure in the local music scene, she remained humble and open. \u003c/p>\n\u003cp>Ian Taggart, a San Francisco producer who goes by Young God of the group \u003ca href=\"https://bsbd.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Blue Sky Black Death\u003c/a>, remembers talking to Stef on a hip-hop message board before meeting at a concert in 2001 when he was 15 years old. “I was this teenager with no social capital, and from the very first time I met her, she just welcomed me into her circle,” he says. “She was never in the music scene to be cool. She just cared about music and appreciated other people.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She amplified what a true hip-hopper should be: a fan, creator, and a lover of the art,” says Dream Nefra, an artist and DJ who knew Stef since 1994. In the early 2000s, Stef built the website for Nefra’s crochet business and DJed her launch party. The pair remained close friends. “She was very much a mentor, a good big sister-type friend that I could call anytime day or night,” says Nefra, “and she would be there for me and didn’t let me down.”\u003c/p>\n\u003cp>In the early ’90s, Stef founded an influential hip-hop zine called the \u003ca href=\"https://www.facebook.com/The-Vinyl-Exchange-113466645404868/\" rel=\"noopener\" target=\"_blank\">\u003cem>Vinyl Exchange\u003c/em>\u003c/a>, where she covered underground artists like DJ Shadow and J-Rocc. The zine evolved into a message board and, eventually, an online magazine with a YouTube show. Up until her death, Stef remained active in the scene: She maintained a popular \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ residency\u003c/a> at Drake’s Dealership in Oakland through this past summer, and she was prolific with her \u003ca href=\"http://sgardnerdesign.com/\" rel=\"noopener\" target=\"_blank\">graphic and web design business\u003c/a>, boasting clients like the show \u003cem>Entourage\u003c/em> and the San Francisco nightclub Monarch. She also designed countless show flyers, often for free, and made turntable-shaped cakes for friends’ birthdays. \u003c/p>\n\u003cp>https://youtu.be/8Ee_ehf-bLs\u003c/p>\n\u003cp>“She kind of presented herself at just an enthusiast, but if you looked at everything she’s done in life and all the people she helped, it’s very clear she was more than just an enthusiast,” said Mosi Reeves, an Oakland-based music journalist. “She was a very important industry figure.”\u003c/p>\n\u003cp>Though many regarded Stef as a familiar face in the local scene, her death has had a national impact. Since her passing, prominent hip-hop artists like DJ Premier, Peanut Butter Wolf, Run the Jewels’ El-P, Lyrics Born, and Equipto have mourned her on social media. \u003c/p>\n\u003cp>https://www.instagram.com/p/BZwAijHFKrm/\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">heartbroken to hear about dj stef passing. truly a lovely, kind soul.\u003c/p>\n\u003cp>— el-p (@therealelp) \u003ca href=\"https://twitter.com/therealelp/status/914755081047826432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Im so fvckin heartbroken. RIP \u003ca href=\"https://twitter.com/hashtag/BayArea?src=hash&ref_src=twsrc%5Etfw\">#BayArea\u003c/a> HipHop pioneer, curator, DJ, & historian \u003ca href=\"https://twitter.com/djstef415?ref_src=twsrc%5Etfw\">@djstef415\u003c/a>. We ❤️ U & treasure what Uve done 4 all of us 😪🌹\u003c/p>\n\u003cp>— Lyrics Born (@lyricsborn) \u003ca href=\"https://twitter.com/lyricsborn/status/914709758493442048?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Love for DJ STEF 💔😢 \u003ca href=\"https://t.co/kcOXZ5LzET\">pic.twitter.com/kcOXZ5LzET\u003c/a>\u003c/p>\n\u003cp>— Equipto (@EQUIPTO) \u003ca href=\"https://twitter.com/EQUIPTO/status/914875895642386432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Stef had a profound impact on everyone she came in contact with, including me. She was continuously and generously supportive of my journalism work and other creative endeavors. After I learned to DJ and started getting gigs two years ago, she’d shout me and other young, female DJs out on social media — despite the fact that I use my laptop and she was a vinyl purist. And even though I might not have realized it at the time, it was huge for me to see an older woman in the scene — a woman who came from an immigrant background like me — who made a name and career for herself in a notoriously male-dominated industry, mastering a variety of creative disciplines along the way. She made that path visible and attainable, and seeing myself in her gave me the confidence I needed to thrive in those formative years of my early twenties.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Props to B-Side Brujas, Chulita Vinyl Club, Club Chai, \u003ca href=\"https://twitter.com/nananastia?ref_src=twsrc%5Etfw\">@nananastia\u003c/a>, \u003ca href=\"https://twitter.com/La_NoNo?ref_src=twsrc%5Etfw\">@La_NoNo\u003c/a> and all the women DJs in the Bay doing their thing! I see u 👀❤\u003c/p>\n\u003cp>— Stephanie O (@djstef415) \u003ca href=\"https://twitter.com/djstef415/status/839759524349136897?ref_src=twsrc%5Etfw\">March 9, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>For a \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500&showFullText=true\" rel=\"noopener\" target=\"_blank\">cover story\u003c/a> last year for the \u003cem>East Bay Express\u003c/em> about gentrification pushing out underground Bay Area venues, Stef told me she worried that young people might lose the freedom to throw the kinds of underground shows that enabled her generation to flourish. “I’m concerned for young people who are just coming up and getting old enough to go out,” she told me. “Where are they gonna go? What are they gonna experience?” \u003c/p>\n\u003cp>That’s the kind of person Stef was: A tireless advocate of the arts who was eager to uplift those around her and make way for future generations. The Bay Area is better for her having been here, and she won’t be forgotten.\u003c/p>\n\u003cp>[ad floatright]\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=\"alignright 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\n",
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"excerpt": "The multifaceted DJ, journalist, and hip-hop enthusiast passed away unexpectedly in her San Francisco home on Oct. 1. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>DJ Stef and I first met around 2011, when I, as a 21-year-old UC Berkeley student eager to leave campus and experience real culture, started frequenting Oakland warehouse parties. Though I barely knew anyone at first, many like-minded music lovers who lived for wild nights in dingy warehouses and dive bars turned into longtime friends. On one of those nights, in a venue that smelled like liquor, spray paint, and sweat, I met Stephanie Ornelas, a.k.a. \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ Stef\u003c/a>.\u003c/p>\n\u003cp>Like many, I was devastated to learn that Stef passed away from an unexpected heart attack at her San Francisco home on Sunday morning, leaving behind her husband, \u003ca href=\"http://stayhatin.com/\" rel=\"noopener\" target=\"_blank\">Sergio Ornelas\u003c/a>, and an enormous circle of friends and admirers. She was 55 — only a couple years older than my mom — and was universally beloved as the “cool aunt” of the local hip-hop scene. \u003c/p>\n\u003cp>Stef made an impact on Bay Area culture in innumerable ways. She was a gifted DJ with an enormous vinyl collection; a graphic designer and self-taught web developer with an impressive client base; a hip-hop journalist who enthusiastically embraced the internet before it became mainstream; and a gregarious networker who introduced future spouses, business partners, and creative collaborators to one another. \u003c/p>\n\u003cfigure id=\"attachment_13810236\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg\" alt=\"DJ Stef with Peanut Butter Wolf (left), Rascue (right), and DJ Serg (bottom). \" width=\"800\" height=\"547\" class=\"size-medium wp-image-13810236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/22195597_10214479317442484_6364123812740013142_n-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Stef with Peanut Butter Wolf (left), RasCue (right), and DJ Serg (bottom).\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t know anyone in the Bay Area who attended as many shows as often as she did — her diehard fandom gave her more stamina than music fans my own age. Whether in the audience or behind the decks, Stef always wore a band tee and an effusive smile, ready to share a laugh and geek out about mutual faves like E-40. And even though she rubbed shoulders with prominent figures like \u003ca href=\"http://www.legendarymusic.net/\" rel=\"noopener\" target=\"_blank\">Living Legends\u003c/a>, \u003ca href=\"https://www.stonesthrow.com/pbwolf\" rel=\"noopener\" target=\"_blank\">Peanut Butter Wolf\u003c/a>, and \u003ca href=\"https://www.facebook.com/djztrip/\" rel=\"noopener\" target=\"_blank\">Z-Trip\u003c/a> over her three-decade-plus tenure in the local music scene, she remained humble and open. \u003c/p>\n\u003cp>Ian Taggart, a San Francisco producer who goes by Young God of the group \u003ca href=\"https://bsbd.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Blue Sky Black Death\u003c/a>, remembers talking to Stef on a hip-hop message board before meeting at a concert in 2001 when he was 15 years old. “I was this teenager with no social capital, and from the very first time I met her, she just welcomed me into her circle,” he says. “She was never in the music scene to be cool. She just cared about music and appreciated other people.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She amplified what a true hip-hopper should be: a fan, creator, and a lover of the art,” says Dream Nefra, an artist and DJ who knew Stef since 1994. In the early 2000s, Stef built the website for Nefra’s crochet business and DJed her launch party. The pair remained close friends. “She was very much a mentor, a good big sister-type friend that I could call anytime day or night,” says Nefra, “and she would be there for me and didn’t let me down.”\u003c/p>\n\u003cp>In the early ’90s, Stef founded an influential hip-hop zine called the \u003ca href=\"https://www.facebook.com/The-Vinyl-Exchange-113466645404868/\" rel=\"noopener\" target=\"_blank\">\u003cem>Vinyl Exchange\u003c/em>\u003c/a>, where she covered underground artists like DJ Shadow and J-Rocc. The zine evolved into a message board and, eventually, an online magazine with a YouTube show. Up until her death, Stef remained active in the scene: She maintained a popular \u003ca href=\"http://djstef415.com/\" rel=\"noopener\" target=\"_blank\">DJ residency\u003c/a> at Drake’s Dealership in Oakland through this past summer, and she was prolific with her \u003ca href=\"http://sgardnerdesign.com/\" rel=\"noopener\" target=\"_blank\">graphic and web design business\u003c/a>, boasting clients like the show \u003cem>Entourage\u003c/em> and the San Francisco nightclub Monarch. She also designed countless show flyers, often for free, and made turntable-shaped cakes for friends’ birthdays. \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/8Ee_ehf-bLs'\n title='//www.youtube.com/embed/8Ee_ehf-bLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She kind of presented herself at just an enthusiast, but if you looked at everything she’s done in life and all the people she helped, it’s very clear she was more than just an enthusiast,” said Mosi Reeves, an Oakland-based music journalist. “She was a very important industry figure.”\u003c/p>\n\u003cp>Though many regarded Stef as a familiar face in the local scene, her death has had a national impact. Since her passing, prominent hip-hop artists like DJ Premier, Peanut Butter Wolf, Run the Jewels’ El-P, Lyrics Born, and Equipto have mourned her on social media. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">heartbroken to hear about dj stef passing. truly a lovely, kind soul.\u003c/p>\n\u003cp>— el-p (@therealelp) \u003ca href=\"https://twitter.com/therealelp/status/914755081047826432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Im so fvckin heartbroken. RIP \u003ca href=\"https://twitter.com/hashtag/BayArea?src=hash&ref_src=twsrc%5Etfw\">#BayArea\u003c/a> HipHop pioneer, curator, DJ, & historian \u003ca href=\"https://twitter.com/djstef415?ref_src=twsrc%5Etfw\">@djstef415\u003c/a>. We ❤️ U & treasure what Uve done 4 all of us 😪🌹\u003c/p>\n\u003cp>— Lyrics Born (@lyricsborn) \u003ca href=\"https://twitter.com/lyricsborn/status/914709758493442048?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Love for DJ STEF 💔😢 \u003ca href=\"https://t.co/kcOXZ5LzET\">pic.twitter.com/kcOXZ5LzET\u003c/a>\u003c/p>\n\u003cp>— Equipto (@EQUIPTO) \u003ca href=\"https://twitter.com/EQUIPTO/status/914875895642386432?ref_src=twsrc%5Etfw\">October 2, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Stef had a profound impact on everyone she came in contact with, including me. She was continuously and generously supportive of my journalism work and other creative endeavors. After I learned to DJ and started getting gigs two years ago, she’d shout me and other young, female DJs out on social media — despite the fact that I use my laptop and she was a vinyl purist. And even though I might not have realized it at the time, it was huge for me to see an older woman in the scene — a woman who came from an immigrant background like me — who made a name and career for herself in a notoriously male-dominated industry, mastering a variety of creative disciplines along the way. She made that path visible and attainable, and seeing myself in her gave me the confidence I needed to thrive in those formative years of my early twenties.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Props to B-Side Brujas, Chulita Vinyl Club, Club Chai, \u003ca href=\"https://twitter.com/nananastia?ref_src=twsrc%5Etfw\">@nananastia\u003c/a>, \u003ca href=\"https://twitter.com/La_NoNo?ref_src=twsrc%5Etfw\">@La_NoNo\u003c/a> and all the women DJs in the Bay doing their thing! I see u 👀❤\u003c/p>\n\u003cp>— Stephanie O (@djstef415) \u003ca href=\"https://twitter.com/djstef415/status/839759524349136897?ref_src=twsrc%5Etfw\">March 9, 2017\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>For a \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500&showFullText=true\" rel=\"noopener\" target=\"_blank\">cover story\u003c/a> last year for the \u003cem>East Bay Express\u003c/em> about gentrification pushing out underground Bay Area venues, Stef told me she worried that young people might lose the freedom to throw the kinds of underground shows that enabled her generation to flourish. “I’m concerned for young people who are just coming up and getting old enough to go out,” she told me. “Where are they gonna go? What are they gonna experience?” \u003c/p>\n\u003cp>That’s the kind of person Stef was: A tireless advocate of the arts who was eager to uplift those around her and make way for future generations. The Bay Area is better for her having been here, and she won’t be forgotten.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\n\u003cp>https://youtu.be/mMlWkLBF6hU\u003c/p>\n\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\n\u003cp>https://youtu.be/SYdQyPvwO3U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\n\u003cp>https://youtu.be/qZi77HaJaVA\u003c/p>\n\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\n\u003cp>https://youtu.be/d9F5PPyaYgg\u003c/p>\n\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/334356974″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\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=\"alignright 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\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/mMlWkLBF6hU'\n title='//www.youtube.com/embed/mMlWkLBF6hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\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/SYdQyPvwO3U'\n title='//www.youtube.com/embed/SYdQyPvwO3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\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/qZi77HaJaVA'\n title='//www.youtube.com/embed/qZi77HaJaVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\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/d9F5PPyaYgg'\n title='//www.youtube.com/embed/d9F5PPyaYgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/334356974″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/playlists/334356974″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\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=\"alignright 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\n\u003c/div>\u003c/p>",
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"title": "Live Review: BROCKHAMPTON's Anarchic Hip-Hop at Social Hall",
"headTitle": "Live Review: BROCKHAMPTON’s Anarchic Hip-Hop at Social Hall | KQED",
"content": "\u003cp>The boys of BROCKHAMPTON would like you to refer to them as, per the group’s founder Kevin Abstract’s words, “the best boy band in the motherf-ckin’ world.” After just three songs into their set on Sunday night — with the entire crowd chanting along at ear-piercing volume, with girls, boys and non-binary folks alike in the front row hoisting signs of adoration, with security rescuing exhausted fans from the front row and handing out bottles of water to others — the description certainly fit.\u003c/p>\n\u003cp>For the uninitiated, BROCKHAMPTON is a \u003ca href=\"http://www.thefader.com/2017/07/13/brockhampton-members-kevin-abstract-interview-saturation\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles-via-Texas 17-member collective\u003c/a> made up of rappers, singers, videographers, producers and designers who have amassed a young, adoring fanbase from their self-released, self-produced mixtapes and music videos. Their oldest member is 24, they are multiracial, queer and straight, and wildly prolific. Up to nine of them, at any given moment, were on stage last night, Sep. 24, at the Social Hall in San Francisco — their first show ever in the city.\u003c/p>\n\u003cfigure id=\"attachment_13809396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it would be fitting to pinpoint each boy, as with any boy band, through mere archetype. Of the collective’s seven singers and rappers, you’ve got Kevin, the group’s de facto leader and hypeman; JOBA, who’s got the sweet Timberlake falsetto; Dom, the man with the quick tongue and the wit to match; Matt, the stoic; Ameer, the man with the hooks; Merlyn, the dynamite stick of the group; and Bearface, the token balladeer.\u003c/p>\n\u003cp>But this undersells BROCKHAMPTON’s biggest strength. The thing that, beyond individual selling points, makes this nebulous agglomerate of teens and twentysomethings worth keeping an eye on as their star invariably rises: They genuinely care for each other, and by necessity, they really, truly make each other better. Best of all, they might just make the crowd better too.\u003c/p>\n\u003cfigure id=\"attachment_13809398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night, as with every stop on their inaugural tour thus far, was a showcase of their exuberant mutual enthusiasm, mouthing each other’s verses, ensuring that everyone in the group gets their individual shine. Really, what other rap collective would cede the stage entirely for one of its members to perform an alt-rock guitar ballad about a gay summer romance, complete with teenage audience-members waving \u003cem>actual\u003c/em> lighters in support?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork ratings be damned, they’re putting on one of the most dynamic, vivacious and celebratory shows — rap, boy band, or otherwise — I’ve seen in a long time. (On that note, the shirts that are adorned with the \u003ca href=\"https://pitchfork.com/reviews/albums/brockhampton-saturation/\">middling Pitchfork review of SATURATION were a nice touch\u003c/a>. So too was the “F-ck Pitchfork” chant early on in the set.)\u003c/p>\n\u003cfigure id=\"attachment_13809399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg\" alt=\"Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly everyone in the crowd sang and rapped and moshed along the entire set, a feat that would be less impressive if they hadn’t dropped two mixtapes in the past six months, with a third coming in mid-October. For at least three songs — “JUNKY,” “GOLD,” and “STAR,” by my tally — there was hardly a person in the room that wasn’t, at the very least, singing along to the endless barrage of hooks they’ve snuck into nearly every song. (Or, in the case of “STAR,” singing along at least seven times — an act of \u003ca href=\"https://www.youtube.com/watch?v=x9PSOScbMto\">Jay-Ye-inspired wish fulfillment.\u003c/a>)\u003c/p>\n\u003cp>And this is what makes shows like this one so electric. BROCKHAMPTON’s unabashed glee at hearing their lyrics recited back to them reverberated back to the crowd. I, for one, couldn’t stop grinning.\u003c/p>\n\u003cfigure id=\"attachment_13809401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sense of humor — weird, snarky and profoundly goofy at once — certainly did amplify the delirious feeling of the evening. At one point, they burst into that move-it-move-it theme song from \u003cem>Madagascar\u003c/em>, before commanding everyone in the crowd — yes, even the security — to “shake their ass.” Then, they dedicated the whole song, “JELLO,” in honor of One Direction, a song that, of course, features a line about “making out with Zayn in a lawn chair.”\u003c/p>\n\u003cp>In all fairness, BROCKHAMPTON will probably never become a boy band to the magnitude of their idols. But I could believe that they’re the best one, if only because, for a minute, they got a critical mass of teens to sing along to lines like \u003cem>that\u003c/em>. Where else would I have heard hundreds of young fans rap along to Kevin’s “I don’t f-ck with no white boys / \u003ca href=\"https://i.redd.it/1ijcyj44cb9z.jpg\">‘Less that n-gga’s Shawn Mendes\u003c/a>” line in “STAR” once, let alone seven times?\u003c/p>\n\u003cp>[gallery type=\"square\" ids=\"13809402,13809403,13809397\"]\u003c/p>\n\u003cp>This is the level of total openness and radical acceptance that the biggest boy bands, \u003ca href=\"http://metro.co.uk/2017/07/25/louis-tomlinson-finally-addresses-those-larry-stylinson-romance-rumours-6803685/\">the ones engineered by \u003cem>The X-Factor\u003c/em> brain trust\u003c/a>, could only hope for.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>BROCKHAMPTON plays the Social Hall in San Francisco again on Sunday, Oct. 1. The show is sold out.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The live version of the young 17-member hip-hop collective caused a wild, chaotic frenzy in their first San Francisco stop.",
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"description": "The live version of the young 17-member hip-hop collective caused a wild, chaotic frenzy in their first San Francisco stop.",
"title": "Live Review: BROCKHAMPTON's Anarchic Hip-Hop at Social Hall | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The boys of BROCKHAMPTON would like you to refer to them as, per the group’s founder Kevin Abstract’s words, “the best boy band in the motherf-ckin’ world.” After just three songs into their set on Sunday night — with the entire crowd chanting along at ear-piercing volume, with girls, boys and non-binary folks alike in the front row hoisting signs of adoration, with security rescuing exhausted fans from the front row and handing out bottles of water to others — the description certainly fit.\u003c/p>\n\u003cp>For the uninitiated, BROCKHAMPTON is a \u003ca href=\"http://www.thefader.com/2017/07/13/brockhampton-members-kevin-abstract-interview-saturation\" target=\"_blank\" rel=\"noopener noreferrer\">Los Angeles-via-Texas 17-member collective\u003c/a> made up of rappers, singers, videographers, producers and designers who have amassed a young, adoring fanbase from their self-released, self-produced mixtapes and music videos. Their oldest member is 24, they are multiracial, queer and straight, and wildly prolific. Up to nine of them, at any given moment, were on stage last night, Sep. 24, at the Social Hall in San Francisco — their first show ever in the city.\u003c/p>\n\u003cfigure id=\"attachment_13809396\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Ameer_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perhaps it would be fitting to pinpoint each boy, as with any boy band, through mere archetype. Of the collective’s seven singers and rappers, you’ve got Kevin, the group’s de facto leader and hypeman; JOBA, who’s got the sweet Timberlake falsetto; Dom, the man with the quick tongue and the wit to match; Matt, the stoic; Ameer, the man with the hooks; Merlyn, the dynamite stick of the group; and Bearface, the token balladeer.\u003c/p>\n\u003cp>But this undersells BROCKHAMPTON’s biggest strength. The thing that, beyond individual selling points, makes this nebulous agglomerate of teens and twentysomethings worth keeping an eye on as their star invariably rises: They genuinely care for each other, and by necessity, they really, truly make each other better. Best of all, they might just make the crowd better too.\u003c/p>\n\u003cfigure id=\"attachment_13809398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809398\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Crowd_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The night, as with every stop on their inaugural tour thus far, was a showcase of their exuberant mutual enthusiasm, mouthing each other’s verses, ensuring that everyone in the group gets their individual shine. Really, what other rap collective would cede the stage entirely for one of its members to perform an alt-rock guitar ballad about a gay summer romance, complete with teenage audience-members waving \u003cem>actual\u003c/em> lighters in support?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pitchfork ratings be damned, they’re putting on one of the most dynamic, vivacious and celebratory shows — rap, boy band, or otherwise — I’ve seen in a long time. (On that note, the shirts that are adorned with the \u003ca href=\"https://pitchfork.com/reviews/albums/brockhampton-saturation/\">middling Pitchfork review of SATURATION were a nice touch\u003c/a>. So too was the “F-ck Pitchfork” chant early on in the set.)\u003c/p>\n\u003cfigure id=\"attachment_13809399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg\" alt=\"Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.Kevin_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Abstract of Brockhampton performs Sept. 24, 2017, at the Social Hall in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly everyone in the crowd sang and rapped and moshed along the entire set, a feat that would be less impressive if they hadn’t dropped two mixtapes in the past six months, with a third coming in mid-October. For at least three songs — “JUNKY,” “GOLD,” and “STAR,” by my tally — there was hardly a person in the room that wasn’t, at the very least, singing along to the endless barrage of hooks they’ve snuck into nearly every song. (Or, in the case of “STAR,” singing along at least seven times — an act of \u003ca href=\"https://www.youtube.com/watch?v=x9PSOScbMto\">Jay-Ye-inspired wish fulfillment.\u003c/a>)\u003c/p>\n\u003cp>And this is what makes shows like this one so electric. BROCKHAMPTON’s unabashed glee at hearing their lyrics recited back to them reverberated back to the crowd. I, for one, couldn’t stop grinning.\u003c/p>\n\u003cfigure id=\"attachment_13809401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809401\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg\" alt=\"BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Brockhampton.LayingDown-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BROCKHAMPTON performing on Sunday, Sept. 24, at Social Hall SF. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their sense of humor — weird, snarky and profoundly goofy at once — certainly did amplify the delirious feeling of the evening. At one point, they burst into that move-it-move-it theme song from \u003cem>Madagascar\u003c/em>, before commanding everyone in the crowd — yes, even the security — to “shake their ass.” Then, they dedicated the whole song, “JELLO,” in honor of One Direction, a song that, of course, features a line about “making out with Zayn in a lawn chair.”\u003c/p>\n\u003cp>In all fairness, BROCKHAMPTON will probably never become a boy band to the magnitude of their idols. But I could believe that they’re the best one, if only because, for a minute, they got a critical mass of teens to sing along to lines like \u003cem>that\u003c/em>. Where else would I have heard hundreds of young fans rap along to Kevin’s “I don’t f-ck with no white boys / \u003ca href=\"https://i.redd.it/1ijcyj44cb9z.jpg\">‘Less that n-gga’s Shawn Mendes\u003c/a>” line in “STAR” once, let alone seven times?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the level of total openness and radical acceptance that the biggest boy bands, \u003ca href=\"http://metro.co.uk/2017/07/25/louis-tomlinson-finally-addresses-those-larry-stylinson-romance-rumours-6803685/\">the ones engineered by \u003cem>The X-Factor\u003c/em> brain trust\u003c/a>, could only hope for.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>BROCKHAMPTON plays the Social Hall in San Francisco again on Sunday, Oct. 1. The show is sold out.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the Asian Art Museum, RZA Talks Fashion, Wu-Tang, and Martin Shkreli",
"headTitle": "At the Asian Art Museum, RZA Talks Fashion, Wu-Tang, and Martin Shkreli | KQED",
"content": "\u003cp>If the Asian Art Museum in San Francisco seems like an unorthodox venue for one of the world’s most famous hip-hop producers to premiere a new song and fashion collection, you obviously don’t know the Wu-Tang Clan.\u003c/p>\n\u003cp>Samples from kung-fu films like \u003cem>Shaolin and Wu Tang\u003c/em> pepper the Wu-Tang Clan’s early albums, an outgrowth of group leader \u003ca href=\"https://twitter.com/RZA\" target=\"_blank\" rel=\"noopener\">RZA’s\u003c/a> adolescent obsession with martial arts. Over the years, however, the rapper, producer, and entrepreneur has immersed himself in Eastern philosophical and spiritual teachings, and has even traveled to the Shaolin Monastery — a Buddhist temple in Dengfeng, China — to become officially ordained as a disciple.\u003c/p>\n\u003cp>“My appreciation [of Asian culture] has evolved from being an outside admirer to being a historical studier to actually becoming, you could say, a member of it,” says RZA (a.k.a. Robert Diggs) when we sit down in the VIP room of San Francisco’s Asian Art Museum on Thursday night.\u003c/p>\n\u003cp>Tonight, the museum is abuzz with hip-hop heads, fashionistas, and photographers anxious for the launch of RZA’s second \u003ca href=\"https://www.36chambers.com/collections/emperors-treasures\" target=\"_blank\" rel=\"noopener\">fashion collection\u003c/a> for \u003ca href=\"https://www.36chambers.com/blogs/news\" target=\"_blank\" rel=\"noopener\">36 Chambers ALC\u003c/a>, his nascent lifestyle brand and record label. In addition to its new line of limited edition jackets, t-shirts, and accessories — available online and at the Asian Art Museum starting today — 36 Chambers is also set to release Wu-Tang Clan’s next album, \u003cem>Wu-Tang: The Saga Continues\u003c/em>, on Oct. 13.\u003c/p>\n\u003cfigure id=\"attachment_13809274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/2499-P-800x533.jpg\" alt=\"A shot from the new 36 Chambers lookbook. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot from the new 36 Chambers lookbook. \u003ccite>(36 Chambers ALC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The launch party’s attendees are the first to hear the collective’s new single, “Lessons Learn’d,” which plays every hour on headphones available at the museum’s kiosks. In it, the group takes a clear attack on Martin Shkreli, the “pharma bro” who purchased the sole copy of Wu-Tang’s last album, \u003cem>Once Upon a Time in Shaolin\u003c/em> for $2 million — and who, while being sentenced this month to federal prison, unloaded it on eBay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Museum attendees wear headphones, hearing the lyrics: “Hater / Wouldn’t last a day in my shoes / You know very well / Bet he swell / You can tell he jeal’ / My price hikin’ like the pills Martin Shkreli sell.”\u003c/p>\n\u003cp>Before our talk is over, RZA talks about Shkreli and his eBay auction. But first: why the Asian Art Museum?\u003c/p>\n\u003cp>Last year, RZA’s San Francisco-based business partner at 36 Chambers, Mustafa Shaikh, went to the museum on a date, and was immediately impressed by the \u003ca href=\"http://www.asianart.org/exhibitions/emperors-treasures\" target=\"_blank\" rel=\"noopener\">\u003cem>Emperors’ Treasures\u003c/em>\u003c/a> exhibit of artifacts from the National Palace Museum in Taipei spanning the 12th through 20th centuries. When RZA was in town on tour, Shaikh brought him to the museum, and they began to conceptualize fashion designs based on Buddhist sutras, wax seals from calligraphic scrolls, and other artifacts from \u003cem>Emperor’s Treasures\u003c/em>.\u003c/p>\n\u003cp>“When I got here, I wished I had more time,” says RZA. “I was really engaged. I was like a kid in a toy store.”\u003c/p>\n\u003cfigure id=\"attachment_13809277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RZA1-800x526.jpg\" alt=\"RZA at the Asian Art Museum. \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13809277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RZA at the Asian Art Museum. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fashion is by no means RZA’s first foray into another creative field beyond hip-hop. His soundtrack work has appeared in various films and video games, including \u003cem>Kill Bill: Vol. 1\u003c/em>, \u003cem>Soul Plane\u003c/em>, and \u003cem>Afro Samurai\u003c/em>. He’s also the author of two philosophy books, \u003cem>The Wu-Tang Manual\u003c/em> and \u003cem>The Tao of Wu\u003c/em>, which combine teachings from Buddhism, Christianity, Islam, and more esoteric sects like the Five-Percent Nation. For RZA, fashion is simply the next step in his continuous creative evolution. \u003c/p>\n\u003cp>“I recognized early on that art is a wavelength, and that wavelength could be tuned to different forms of art,” he says. “If I become the instrument, I can let anything flow through me, like a trumpet. You can play jazz with it, you can play rock with it, you can play classical with it. You can play anything you want with it, it depends on the player. But if I become the instrument as well as the player — you know what I mean — then I can be both, and that’s what I think I’ve become.”\u003c/p>\n\u003cp>RZA recently returned to his roots with the new Wu-Tang album, handing off beat-making to DJ Mathematics (who, incidentally, created the original Wu-Tang logo) so that he could focus exclusively on rapping and post-production. On the new project, Mathematics channels the gritty, organic feel of RZA’s old-school piano loops, the foundation of Wu-Tang’s first album, \u003cem>Enter the Wu-Tang (36 Chambers)\u003c/em>.\u003c/p>\n\u003cp>Even amidst the new album’s rollout, RZA says that he’s already itching to make more music. “Look, I love the studio. Sometimes when I’m not in it for a while and I get back in it, I wind up staying in it for a month,” he says. “I get stuck in it. I’m in a very musical mode right now, even today. I’m kind of fiending to make some music.”\u003c/p>\n\u003cfigure id=\"attachment_13809283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/3195-P2-800x533.jpg\" alt=\"A hat from the new 36 Chambers collection.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A hat from the new 36 Chambers collection. \u003ccite>(36 Chambers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>RZA’s desire to push the envelope has made him no stranger to controversy — including the ongoing Martin Shkreli episode. To many fans’ ire, Wu-Tang’s last album, 2015’s \u003cem>Once Upon a Time in Shaolin\u003c/em>, was auctioned off as a single copy for $2 million to the infamous pharmacy executive, who was recently convicted for fraud and \u003ca href=\"http://money.cnn.com/2017/09/14/news/martin-shkreli-jail/index.html\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> in a New York jail. \u003c/p>\n\u003cp>Many fans were perplexed by why Wu-Tang created an album intended for a single listener — let alone a man who raised the price of an AIDS drug from $13.50 to $750 per pill.\u003c/p>\n\u003cp>“Right here, we’re at the Asian Art Museum. Everything in here is singular,” RZA explains. “So the idea was that we were creating a piece of art, not something that could be mass-consumed. We also thought music was losing its value and we wanted to bring value back to it.”\u003c/p>\n\u003cp>Shkreli recently put the album up for sale on eBay. The auction appeared to close at just over $1 million, but the sale \u003ca href=\"http://hiphopdx.com/news/id.44692/title.martin-shkrelis-ebay-sale-of-wu-tang-clans-once-upon-a-time-in-shaolin-is-bogus#\" target=\"_blank\" rel=\"noopener\">hasn’t been finalized\u003c/a> since Shkreli is currently behind bars. \u003c/p>\n\u003cp>“Out of all the bad things they say [Shkreli’s] done, he did one thing that was good, which was that he helped prove the theory of the value of music — even by him putting it on eBay, which I’m pretty pissed off about.”\u003c/p>\n\u003cp>Its unclear whether the world will ever hear \u003cem>Once Upon a Time in Shaolin\u003c/em>, but after Wu-Tang drops their next album, \u003cem>The Saga Continues\u003c/em>, RZA says the group will record one more final project. He doesn’t want to tour into old age like B.B. King, he jokes later during his artist talk with hip-hop historian \u003ca href=\"http://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>.\u003c/p>\n\u003cp>“I think everything a man does, as he lives longer, he should evolve,” he tells me. “So I just keep evolving, and I’m ready for the next.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the Asian Art Museum in San Francisco seems like an unorthodox venue for one of the world’s most famous hip-hop producers to premiere a new song and fashion collection, you obviously don’t know the Wu-Tang Clan.\u003c/p>\n\u003cp>Samples from kung-fu films like \u003cem>Shaolin and Wu Tang\u003c/em> pepper the Wu-Tang Clan’s early albums, an outgrowth of group leader \u003ca href=\"https://twitter.com/RZA\" target=\"_blank\" rel=\"noopener\">RZA’s\u003c/a> adolescent obsession with martial arts. Over the years, however, the rapper, producer, and entrepreneur has immersed himself in Eastern philosophical and spiritual teachings, and has even traveled to the Shaolin Monastery — a Buddhist temple in Dengfeng, China — to become officially ordained as a disciple.\u003c/p>\n\u003cp>“My appreciation [of Asian culture] has evolved from being an outside admirer to being a historical studier to actually becoming, you could say, a member of it,” says RZA (a.k.a. Robert Diggs) when we sit down in the VIP room of San Francisco’s Asian Art Museum on Thursday night.\u003c/p>\n\u003cp>Tonight, the museum is abuzz with hip-hop heads, fashionistas, and photographers anxious for the launch of RZA’s second \u003ca href=\"https://www.36chambers.com/collections/emperors-treasures\" target=\"_blank\" rel=\"noopener\">fashion collection\u003c/a> for \u003ca href=\"https://www.36chambers.com/blogs/news\" target=\"_blank\" rel=\"noopener\">36 Chambers ALC\u003c/a>, his nascent lifestyle brand and record label. In addition to its new line of limited edition jackets, t-shirts, and accessories — available online and at the Asian Art Museum starting today — 36 Chambers is also set to release Wu-Tang Clan’s next album, \u003cem>Wu-Tang: The Saga Continues\u003c/em>, on Oct. 13.\u003c/p>\n\u003cfigure id=\"attachment_13809274\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/2499-P-800x533.jpg\" alt=\"A shot from the new 36 Chambers lookbook. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/2499-P-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot from the new 36 Chambers lookbook. \u003ccite>(36 Chambers ALC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The launch party’s attendees are the first to hear the collective’s new single, “Lessons Learn’d,” which plays every hour on headphones available at the museum’s kiosks. In it, the group takes a clear attack on Martin Shkreli, the “pharma bro” who purchased the sole copy of Wu-Tang’s last album, \u003cem>Once Upon a Time in Shaolin\u003c/em> for $2 million — and who, while being sentenced this month to federal prison, unloaded it on eBay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Museum attendees wear headphones, hearing the lyrics: “Hater / Wouldn’t last a day in my shoes / You know very well / Bet he swell / You can tell he jeal’ / My price hikin’ like the pills Martin Shkreli sell.”\u003c/p>\n\u003cp>Before our talk is over, RZA talks about Shkreli and his eBay auction. But first: why the Asian Art Museum?\u003c/p>\n\u003cp>Last year, RZA’s San Francisco-based business partner at 36 Chambers, Mustafa Shaikh, went to the museum on a date, and was immediately impressed by the \u003ca href=\"http://www.asianart.org/exhibitions/emperors-treasures\" target=\"_blank\" rel=\"noopener\">\u003cem>Emperors’ Treasures\u003c/em>\u003c/a> exhibit of artifacts from the National Palace Museum in Taipei spanning the 12th through 20th centuries. When RZA was in town on tour, Shaikh brought him to the museum, and they began to conceptualize fashion designs based on Buddhist sutras, wax seals from calligraphic scrolls, and other artifacts from \u003cem>Emperor’s Treasures\u003c/em>.\u003c/p>\n\u003cp>“When I got here, I wished I had more time,” says RZA. “I was really engaged. I was like a kid in a toy store.”\u003c/p>\n\u003cfigure id=\"attachment_13809277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RZA1-800x526.jpg\" alt=\"RZA at the Asian Art Museum. \" width=\"800\" height=\"526\" class=\"size-medium wp-image-13809277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RZA1-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RZA at the Asian Art Museum. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fashion is by no means RZA’s first foray into another creative field beyond hip-hop. His soundtrack work has appeared in various films and video games, including \u003cem>Kill Bill: Vol. 1\u003c/em>, \u003cem>Soul Plane\u003c/em>, and \u003cem>Afro Samurai\u003c/em>. He’s also the author of two philosophy books, \u003cem>The Wu-Tang Manual\u003c/em> and \u003cem>The Tao of Wu\u003c/em>, which combine teachings from Buddhism, Christianity, Islam, and more esoteric sects like the Five-Percent Nation. For RZA, fashion is simply the next step in his continuous creative evolution. \u003c/p>\n\u003cp>“I recognized early on that art is a wavelength, and that wavelength could be tuned to different forms of art,” he says. “If I become the instrument, I can let anything flow through me, like a trumpet. You can play jazz with it, you can play rock with it, you can play classical with it. You can play anything you want with it, it depends on the player. But if I become the instrument as well as the player — you know what I mean — then I can be both, and that’s what I think I’ve become.”\u003c/p>\n\u003cp>RZA recently returned to his roots with the new Wu-Tang album, handing off beat-making to DJ Mathematics (who, incidentally, created the original Wu-Tang logo) so that he could focus exclusively on rapping and post-production. On the new project, Mathematics channels the gritty, organic feel of RZA’s old-school piano loops, the foundation of Wu-Tang’s first album, \u003cem>Enter the Wu-Tang (36 Chambers)\u003c/em>.\u003c/p>\n\u003cp>Even amidst the new album’s rollout, RZA says that he’s already itching to make more music. “Look, I love the studio. Sometimes when I’m not in it for a while and I get back in it, I wind up staying in it for a month,” he says. “I get stuck in it. I’m in a very musical mode right now, even today. I’m kind of fiending to make some music.”\u003c/p>\n\u003cfigure id=\"attachment_13809283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/3195-P2-800x533.jpg\" alt=\"A hat from the new 36 Chambers collection.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13809283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/3195-P2-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A hat from the new 36 Chambers collection. \u003ccite>(36 Chambers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>RZA’s desire to push the envelope has made him no stranger to controversy — including the ongoing Martin Shkreli episode. To many fans’ ire, Wu-Tang’s last album, 2015’s \u003cem>Once Upon a Time in Shaolin\u003c/em>, was auctioned off as a single copy for $2 million to the infamous pharmacy executive, who was recently convicted for fraud and \u003ca href=\"http://money.cnn.com/2017/09/14/news/martin-shkreli-jail/index.html\" target=\"_blank\" rel=\"noopener\">awaits sentencing\u003c/a> in a New York jail. \u003c/p>\n\u003cp>Many fans were perplexed by why Wu-Tang created an album intended for a single listener — let alone a man who raised the price of an AIDS drug from $13.50 to $750 per pill.\u003c/p>\n\u003cp>“Right here, we’re at the Asian Art Museum. Everything in here is singular,” RZA explains. “So the idea was that we were creating a piece of art, not something that could be mass-consumed. We also thought music was losing its value and we wanted to bring value back to it.”\u003c/p>\n\u003cp>Shkreli recently put the album up for sale on eBay. The auction appeared to close at just over $1 million, but the sale \u003ca href=\"http://hiphopdx.com/news/id.44692/title.martin-shkrelis-ebay-sale-of-wu-tang-clans-once-upon-a-time-in-shaolin-is-bogus#\" target=\"_blank\" rel=\"noopener\">hasn’t been finalized\u003c/a> since Shkreli is currently behind bars. \u003c/p>\n\u003cp>“Out of all the bad things they say [Shkreli’s] done, he did one thing that was good, which was that he helped prove the theory of the value of music — even by him putting it on eBay, which I’m pretty pissed off about.”\u003c/p>\n\u003cp>Its unclear whether the world will ever hear \u003cem>Once Upon a Time in Shaolin\u003c/em>, but after Wu-Tang drops their next album, \u003cem>The Saga Continues\u003c/em>, RZA says the group will record one more final project. He doesn’t want to tour into old age like B.B. King, he jokes later during his artist talk with hip-hop historian \u003ca href=\"http://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>.\u003c/p>\n\u003cp>“I think everything a man does, as he lives longer, he should evolve,” he tells me. “So I just keep evolving, and I’m ready for the next.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More",
"headTitle": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More | KQED",
"content": "\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\n\u003cp>https://youtu.be/3KNsBCf34fQ\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\n\u003cp>https://youtu.be/fMQGqOg4lDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\n\u003cp>https://youtu.be/th370QmFtk8\u003c/p>\n\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\n\u003cp>https://youtu.be/hADxHPEekqg\u003c/p>\n\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\n\u003cp>https://youtu.be/eIqESwzCGg4\u003c/p>\n\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\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\n",
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"excerpt": "Our music editor's picks for who to see at the free San Francisco fest — a list of five unlikely acts among the mostly acoustic lineup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\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/3KNsBCf34fQ'\n title='//www.youtube.com/embed/3KNsBCf34fQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\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/fMQGqOg4lDw'\n title='//www.youtube.com/embed/fMQGqOg4lDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\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/th370QmFtk8'\n title='//www.youtube.com/embed/th370QmFtk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\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/hADxHPEekqg'\n title='//www.youtube.com/embed/hADxHPEekqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\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/eIqESwzCGg4'\n title='//www.youtube.com/embed/eIqESwzCGg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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