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"content": "\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Our music editor's recommendations for your concert calendar this fall. ",
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"description": "Our music editor's recommendations for your concert calendar this fall. ",
"title": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall | KQED",
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"headline": "Hyphy, J-Pop, and a West Coast Opera: 10 Music Events Not to Miss This Fall",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area music fans are known for intellectual curiosity and eclectic taste, and this coming fall, there’s no shortage of performances by boundary-pushing artists in every genre under the sun. In the current political climate, music can be a source of empowerment or a vehicle for crucial insights. But sometimes it’s just about having fun — which is equally important. So, free-jazz fans, hip-hop heads, new wave disciples and opera aficionados, rejoice! Our fall music guide is here, with 10 hand-picked events to inspire, spark conversation, and remind us that life is worth celebrating. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/Obd2sYVDF58\u003cbr>\n\u003c/aside>\n\u003ch3>IAMSU\u003c/h3>\n\u003ch5>Sept. 9\u003cbr>\nFox Theater, Oakland\u003cbr>\n\u003ca href=\"http://thefoxoakland.com/events/iamsu/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Through savvy branding and a seemingly endless stream of releases, East Bay rapper-producer IAMSU has carved out a niche for himself as the king of new-school Bay Area party rap. He originally rose to prominence as the founder of his crew, HBK Gang, a versatile collective of fellow Richmond and Pinole natives including Kool John and P-Lo. Though he’s had some big opportunities, like touring with Wiz Khalifa and working with Dej Loaf, Su remains independent with his own label, \u003ca href=\"https://twitter.com/eyesonmellc?lang=en\" target=\"_blank\" rel=\"noopener\">Eyes on Me\u003c/a>. His music, with glossy synths and big, hyphy bass lines, is as motivational as it is celebratory, reminding listeners to strive for their goals and toast to their successes.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/MZIJ2vFxu9Y\u003cbr>\n\u003c/aside>\n\u003ch3>J-Pop Summit\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nFort Mason Center, San Francisco\u003cbr>\n\u003ca href=\"https://fortmason.org/event/j-pop-summit-2017/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The 8th annual J-Pop summit comes to San Francisco’s Fort Mason Center on Sept. 9 and 10, bringing the latest in Japanese music, food, gaming, film, and more. This year’s musical guests include all-girl pop-punk bands Band-Maid and Babyraids; May’n, a singer who’s done soundtrack work for a variety of TV shows and video games; Misaki Iwasa, who specializes in the traditional Japanese genre Enka; and J-pop duo Yanakiku. There’s also a drag contest, Q&As and meet-and-greets with several of the artists, and dance performances by Tokyo Gegegay and Zoomadanke.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/trHaA_oMZTA\u003cbr>\n\u003c/aside>\n\u003ch3>Russian River Jazz and Blues Festival\u003c/h3>\n\u003ch5>Sept. 9–10\u003cbr>\nJohnson’s Beach, Guerneville\u003cbr>\n\u003ca href=\"http://russianriverfestivals.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Imagine yourself floating down the Russian River in an inner tube, beer in hand, as the soulful tunes of Tower of Power waft through the air. That’s the scene at this year’s Russian River Jazz and Blues Festival, which has the legendary Oakland R&B band headlining on Sunday, Sept. 10. (Tower of Power’s original vocalist, Rick Stevens, passed away from cancer this week; expect them to dedicate “You’re Still a Young Man” in his honor.) The festival’s lineup features a wide range of new and old-school R&B, soul, funk, jazz, and blues artists, including jazz singer and Broadway actress Stephanie Mills, bass prodigy Julian Vaughn, San Francisco soul band Con Brio, and blues-rock band Southern Avenue.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/422-yb8TXj8\u003cbr>\n\u003c/aside>\n\u003ch3>Celebrating Bernstein’s Centennial\u003c/h3>\n\u003ch5>Sept. 14, 2017–Feb. 24, 2018\u003cbr>\nSan Francisco Symphony\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/1718season\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Influential composer and conductor Leonard Bernstein would have been 100 years old next year, and to celebrate, the San Francisco Symphony is dedicating its 2017-18 programming to the artist with a series of concerts starting Sept. 14. Bernstein, one of the first American-born and educated composers to reach international acclaim, was credited with putting classical music in dialogue with pop culture in the mid-20th century. He’s responsible for the soundtracks of \u003cem>Peter Pan\u003c/em>, \u003cem>West Side Story\u003c/em>, and \u003cem>Candide\u003c/em> – and music from the latter two is part of the San Francisco Symphony’s event series, along with other important works like Bernstein’s Symphony No. 2, \u003cem>The Age of Anxiety\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S-sJp1FfG7Q\u003cbr>\n\u003c/aside>\n\u003ch3>Migos\u003c/h3>\n\u003ch5>Sept. 21\u003cbr>\nOracle Arena, Oakland\u003cbr>\n\u003ca href=\"http://www.oraclearena.com/events/detail/migos\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>2017 has been Migos’ year. The Atlanta rap trio topped the charts with “Bad and Boujee,” with other tracks from their album \u003cem>Culture\u003c/em>, “T-Shirt” and “Slippery,” trailing closely behind. Migos spent years as unsung influencers in Atlanta’s trap scene, and now, Quavo, Offset, and Takeoff are finally getting their due shine. While others continue to imitate the group’s signature staccato flow and animated ad-libs, Migos continue to evolve rap into something stranger, more abstract, and more malleable. Catch them at Oakland’s Oracle Arena with support from “Bodak Yellow” rapper Cardi B, Tee Grizzly, YFN Lucci, and Vallejo’s own SOB x RBE and OMB Peezy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/QZ6lB7FKxi8\u003cbr>\n\u003c/aside>\n\u003ch3>Pharoah Sanders Quartet\u003c/h3>\n\u003ch5>Sept. 22\u003cbr>\nSFJAZZ Center\u003cbr>\n\u003ca href=\"https://www.sfjazz.org/tickets/productions/pharoah-sanders-quartet/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>76-year-old jazz legend Pharoah Sanders has had a storied career since arriving in Oakland from Arkansas in 1959: he pioneered free jazz alongside John Coltrane and performed with other greats like Alice Coltrane and San Ra, who encouraged Sanders to change his name from Farrell to Pharoah. Sanders’ work is deeply spiritual and psychedelic: “The Creator Has a Master Plan,” a thirty-minute composition that oscillates between breezy instrumentation, R&B vocals, and abstract chanting, exemplifies his innovative blend of jazz with Eastern influences and popular music. The Pharoah Sanders Quartet and Ravi Coltrane celebrate John Coltrane’s legacy with a special concert at the SFJAZZ Center on Sept. 22.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/m0AKJMGxwpE\u003cbr>\n\u003c/aside>\n\u003ch3>Depeche Mode\u003c/h3>\n\u003ch5>Oct. 8\u003cbr>\nSAP Center, San Jose\u003cbr>\n\u003ca href=\"http://www.sapcenter.com/events/detail/depeche-mode\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Depeche Mode is one of the most iconic bands of the ’80s and ’90s, and tracks like “Personal Jesus” and “Enjoy the Silence” came to define an era of synth-driven pop that still remains hugely influential today. The legendary trio is currently touring to promote its new album, \u003cem>Spirit\u003c/em>, whose dark, pensive single, “Where’s The Revolution,” speaks to today’s turbulent political climate. If you miss the Oct. 8 stop at the SAP Center in San Jose, Depeche Mode also plays the Oracle Arena in Oakland on Oct. 10.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/UBZztzVfD4g\u003cbr>\n\u003c/aside>\n\u003ch3>Korean National Gugak Center Creative Traditional Orchestra\u003c/h3>\n\u003cp>Oct. 28\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2017-18/new-music/korean-national-gugak-center-traditional-orchestra-new-works-concert.php\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\n\u003c/p>\u003cp>Seoul’s Korean National Gugak Center specializes in a musical history over a thousand years in the making, and is the leading institution for traditional Korean court and folk music today. Its Creative Traditional Orchestra comes to Berkeley for a concert on Oct. 28 at Zellerbach Hall as part of a two-part concert series. Between the 3pm and 8pm shows, a free Korean parade runs through UC Berkeley’s Sproul Plaza with traditional costumes and percussion ensembles.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003caside class=\"alignleft\">\nhttps://youtu.be/S0qrinhNnOM\u003cbr>\n\u003c/aside>\n\u003ch3>Solange\u003c/h3>\n\u003ch5>Oct. 20\u003cbr>\nGreek Theater, Berkeley\u003cbr>\n\u003ca href=\"http://apeconcerts.com/events/solange/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Few works of art have cut to the core our political reality as beautifully and subtly as Solange’s 2016 album \u003cem>A Seat at the Table\u003c/em>. The warm, soulful project is at once a source of comfort and a wake-up call: It addresses serious topics like mental health and racial inequality in poetic terms, couching these realities in gorgeous vocal harmonies and retro instrumentation. Her live shows — with their immersive light design and inventive choreography — are as visually stunning as they are emotionally impactful, which is why her Oct. 20 show at Berkeley’s Greek Theatre with Flying Lotus and Earl Sweatshirt is already sold out (though tickets are still available on third-party websites).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" class=\"size-medium wp-image-13807065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ Composer John Adams and Librettist Peter Sellars \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Girls of the Golden West\u003c/h3>\n\u003ch5>Nov. 21 – Dec. 10\u003cbr>\nSan Francisco Opera\u003cbr>\n\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is known for boundary-pushing works that probe timely sociopolitical topics, and his latest for the San Francisco Opera, \u003cem>Girls of the Golden West\u003c/em>, is no exception. Adams culled the new opera from historical texts from the California Gold Rush. The production, which premieres Nov. 21, delves into the lives of the resilient women of the Wild West, touching upon topics like economic scarcity and racism.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hiero Day 2017: Six Rising Artists Not to Miss this Year",
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"content": "\u003cp>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> is a homegrown Oakland tradition — an all-day, family-friendly block party celebrating the musical legacy of \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> and the ’90s hip-hop scene that gave them their rise. While the legendary conscious hip-hop collective closes out each year’s Labor Day festival (in a new location this year, on 18th and Poplar Streets in West Oakland), this year’s edition features plenty of hometown heroes and big-name national acts. \u003c/p>\n\u003cp>Artists not to miss include Oakland’s first lady of R&B, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/goapele-keeps-weaves-sultry-rb-with-activism-on-dreamseeker/\" target=\"_blank\" rel=\"noopener\">Goapele\u003c/a>; Texas giant \u003ca href=\"https://twitter.com/bunbtrillog?lang=en\" target=\"_blank\" rel=\"noopener\">Bun B\u003c/a>; underground hip-hop champions \u003ca href=\"https://www.youtube.com/watch?v=oiusDE0KND8\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a>; pioneering female gangsta rapper \u003ca href=\"https://www.youtube.com/watch?v=_rJe2tOS90E\" target=\"_blank\" rel=\"noopener\">Yo-Yo\u003c/a>; rising Richmond singer \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>; and, of course, \u003ca href=\"https://www.eastbayexpress.com/oakland/communing-with-the-based-god/Content?oid=4604909\" target=\"_blank\" rel=\"noopener\">Lil B the Based God\u003c/a>. But other than these oft-talked-about performers, Hiero Day features many up-and-coming artists worthy of attention. To help you navigate the fest, we’ve rounded up six must-see rising artists who might not be on your radar. \u003c/p>\n\u003cp>https://youtu.be/8dOySPXcC1M\u003c/p>\n\u003ch3>YMTK\u003c/h3>\n\u003cp>YMTK got his start singing in church in his native Oakland, and his soulful sensibilities shine through his paradisiacal, sun-soaked party jams. The L.A.-based singer’s velvety R&B vocals glide over house beats and trunk-shaking Town bass lines alike. \u003c/p>\n\u003cp>https://youtu.be/fiW9qdxlZg0\u003c/p>\n\u003ch3>Ezale\u003c/h3>\n\u003cp>Ezale represents the East Oakland neighborhood Funktown, named for a gang that reigned the area in the ’80s. But his neighborhood’s nickname also describes the exuberant rapper’s old-school, funky sound. His street anthems “Five Minutes of Funktown” and “Too High” have made him a local favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/323113399″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \u003c/p>\n\u003cp>https://youtu.be/jI56LrPKMqo\u003c/p>\n\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\u003c/p>\n\u003cp>https://youtu.be/QQzRU8IC0mg\u003c/p>\n\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\u003c/p>\n\u003cp>https://youtu.be/vV71CEm-svU\u003c/p>\n\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \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=\"alignnone size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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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/323113399″&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/tracks/323113399″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp> \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \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/jI56LrPKMqo'\n title='//www.youtube.com/embed/jI56LrPKMqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QQzRU8IC0mg'\n title='//www.youtube.com/embed/QQzRU8IC0mg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\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/vV71CEm-svU'\n title='//www.youtube.com/embed/vV71CEm-svU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \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=\"alignnone size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Entertainers Danny Glover, David Cross and Patton Oswalt have joined the cast of \u003cem>Sorry To Bother You,\u003c/em> the directorial debut from rapid-fire rapper Boots Riley. The online entertainment publication \u003ca href=\"http://deadline.com/2017/07/sorry-to-bother-you-movie-danny-glover-david-cross-patton-oswalt-boots-riley-1202136106/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline.com\u003c/a> announced the expansion of the cast on Wednesday.\u003c/p>\n\u003cp>Riley, who performs with the band \u003ca href=\"https://www.facebook.com/TheCoup/\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, and crew began shooting the \u003ca href=\"https://en.wikipedia.org/wiki/Sorry_to_Bother_You_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">comedy fantasy sci-fi film\u003c/a> in Riley’s hometown of Oakland last month.\u003c/p>\n\u003cp>“Boom. All this amazing talent coming together to make \u003cem>Sorry To Bother You\u003c/em> fly,” Riley wrote on his \u003ca href=\"https://www.facebook.com/boots.riley/posts/10155541981183664\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> about the casting update.\u003c/p>\n\u003cp>The new additions round-out an already star-packed cast that includes \u003ca href=\"http://www.imdb.com/name/nm3147751/\" target=\"_blank\" rel=\"noopener noreferrer\">Lakeith Stanfield\u003c/a> (\u003ci>Get Out\u003c/i>, \u003ci>Selma\u003c/i>) \u003ca href=\"http://www.imdb.com/name/nm1935086/\" target=\"_blank\" rel=\"noopener noreferrer\">Tessa Thompson \u003c/a>(\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm2309517/\" target=\"_blank\" rel=\"noopener noreferrer\">Armie Hammer\u003c/a> (\u003ci>Birth Of A Nation\u003c/i>, \u003ci>The Lone Ranger\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm3081796/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a> (\u003ci>The Walking Dead\u003c/i>, \u003ci>Okja\u003c/i>) and \u003ca href=\"http://www.imdb.com/name/nm0187719/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Crews\u003c/a> (\u003ci>Brooklyn Nine-Nine\u003c/i>, \u003ci>Idiocracy\u003c/i>).\u003c/p>\n\u003cp>The film, which is about a black telemarketer who discovers a magical key to success in business, was written by 46-year-old Riley, who once worked as a tele-fundraiser. Riley studied film at San Francisco State before his music career took off, and workshopped \u003cem>Sorry To Bother You\u003c/em> last year at the Sundance Directors Lab.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Significant Productions, the company behind \u003ci>Fruitvale Station\u003c/i> and \u003ci>Dope\u003c/i>, is producing the project. The shoot is scheduled to wrap up Friday.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Entertainers Danny Glover, David Cross and Patton Oswalt have joined the cast of \u003cem>Sorry To Bother You,\u003c/em> the directorial debut from rapid-fire rapper Boots Riley. The online entertainment publication \u003ca href=\"http://deadline.com/2017/07/sorry-to-bother-you-movie-danny-glover-david-cross-patton-oswalt-boots-riley-1202136106/\" target=\"_blank\" rel=\"noopener noreferrer\">Deadline.com\u003c/a> announced the expansion of the cast on Wednesday.\u003c/p>\n\u003cp>Riley, who performs with the band \u003ca href=\"https://www.facebook.com/TheCoup/\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, and crew began shooting the \u003ca href=\"https://en.wikipedia.org/wiki/Sorry_to_Bother_You_(film)\" target=\"_blank\" rel=\"noopener noreferrer\">comedy fantasy sci-fi film\u003c/a> in Riley’s hometown of Oakland last month.\u003c/p>\n\u003cp>“Boom. All this amazing talent coming together to make \u003cem>Sorry To Bother You\u003c/em> fly,” Riley wrote on his \u003ca href=\"https://www.facebook.com/boots.riley/posts/10155541981183664\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> about the casting update.\u003c/p>\n\u003cp>The new additions round-out an already star-packed cast that includes \u003ca href=\"http://www.imdb.com/name/nm3147751/\" target=\"_blank\" rel=\"noopener noreferrer\">Lakeith Stanfield\u003c/a> (\u003ci>Get Out\u003c/i>, \u003ci>Selma\u003c/i>) \u003ca href=\"http://www.imdb.com/name/nm1935086/\" target=\"_blank\" rel=\"noopener noreferrer\">Tessa Thompson \u003c/a>(\u003ci>Creed\u003c/i>, \u003ci>Selma\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm2309517/\" target=\"_blank\" rel=\"noopener noreferrer\">Armie Hammer\u003c/a> (\u003ci>Birth Of A Nation\u003c/i>, \u003ci>The Lone Ranger\u003c/i>), \u003ca href=\"http://www.imdb.com/name/nm3081796/\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Yeun\u003c/a> (\u003ci>The Walking Dead\u003c/i>, \u003ci>Okja\u003c/i>) and \u003ca href=\"http://www.imdb.com/name/nm0187719/\" target=\"_blank\" rel=\"noopener noreferrer\">Terry Crews\u003c/a> (\u003ci>Brooklyn Nine-Nine\u003c/i>, \u003ci>Idiocracy\u003c/i>).\u003c/p>\n\u003cp>The film, which is about a black telemarketer who discovers a magical key to success in business, was written by 46-year-old Riley, who once worked as a tele-fundraiser. Riley studied film at San Francisco State before his music career took off, and workshopped \u003cem>Sorry To Bother You\u003c/em> last year at the Sundance Directors Lab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Significant Productions, the company behind \u003ci>Fruitvale Station\u003c/i> and \u003ci>Dope\u003c/i>, is producing the project. The shoot is scheduled to wrap up Friday.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists",
"headTitle": "SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists | KQED",
"content": "\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\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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"excerpt": "The uncertain future of SoundCloud, the audio-hosting platform where many Bay Area artists have thrived, leaves musicians and performers worried.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If there’s a busier actor at the moment than septuagenarian Danny Glover, his or her name does not spring readily to mind. The San Francisco native has worked continuously since hitting everybody’s radar in 1984 with \u003cem>Places in the Heart\u003c/em>, but the list of new and upcoming films that he infuses with his particular blend of dignity and authority is remarkable. In the Nigerian real-life thriller \u003cem>93 Days\u003c/em>, opening the \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a> (June 15-18 at numerous venues), Glover plays the chief of staff of a Lagos hospital racing to head off an Ebola outbreak. (The actor also has a key role in a similarly titled project in production, \u003cem>83 Days\u003c/em>, based on the horrific 1944 conviction and execution of 14-year-old George Stinney, Jr. in South Carolina.) At the SFBFF, after the screening of \u003cem>93 Days\u003c/em>, Glover takes the stage for what’s sure to be a typically candid and inspiring interview.\u003c/p>\n\u003cp>Danny Glover’s contribution to movies — and it’s a significant one — is playing big men whose masculinity incorporates vulnerability and sensitivity. One rarely used to see that in movies, and never in sports, which is one of the underlying premises of \u003cem>Pass Interference: The Davone Bess Story\u003c/em>. Branson Wright’s empathetic one-hour documentary, screening June 16 at the African American Art and Culture Complex (762 Fulton St.) with the former NFL wide receiver in the house, explores the consequences of undiagnosed and untreated mental illness. A place of one’s own, justice, freedom to express — these are a few of the urgent and timeless themes woven throughout the SF Black Film Festival program. Full schedule \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s a busier actor at the moment than septuagenarian Danny Glover, his or her name does not spring readily to mind. The San Francisco native has worked continuously since hitting everybody’s radar in 1984 with \u003cem>Places in the Heart\u003c/em>, but the list of new and upcoming films that he infuses with his particular blend of dignity and authority is remarkable. In the Nigerian real-life thriller \u003cem>93 Days\u003c/em>, opening the \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a> (June 15-18 at numerous venues), Glover plays the chief of staff of a Lagos hospital racing to head off an Ebola outbreak. (The actor also has a key role in a similarly titled project in production, \u003cem>83 Days\u003c/em>, based on the horrific 1944 conviction and execution of 14-year-old George Stinney, Jr. in South Carolina.) At the SFBFF, after the screening of \u003cem>93 Days\u003c/em>, Glover takes the stage for what’s sure to be a typically candid and inspiring interview.\u003c/p>\n\u003cp>Danny Glover’s contribution to movies — and it’s a significant one — is playing big men whose masculinity incorporates vulnerability and sensitivity. One rarely used to see that in movies, and never in sports, which is one of the underlying premises of \u003cem>Pass Interference: The Davone Bess Story\u003c/em>. Branson Wright’s empathetic one-hour documentary, screening June 16 at the African American Art and Culture Complex (762 Fulton St.) with the former NFL wide receiver in the house, explores the consequences of undiagnosed and untreated mental illness. A place of one’s own, justice, freedom to express — these are a few of the urgent and timeless themes woven throughout the SF Black Film Festival program. Full schedule \u003ca href=\"http://sfbff.org/wordpress/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On a recent Sunday evening, P-Lo’s friends and fans crowd into a small Tenderloin art gallery for the listening party for his upcoming album, \u003cem>More Than Anything\u003c/em>. This also happens to be the rapper and producer’s 26th birthday, but he’d probably be in just as good a mood even if it wasn’t.\u003c/p>\n\u003cp>“\u003cem>More Than Anything\u003c/em> means a lot of different things. I have this certain belief in myself that I want to show through my music,” P-Lo announces, beaming, as everyone gathers to hear his new project, released independently on May 12. “And through my music, I want people to feel the same way I feel about myself as themselves.”\u003c/p>\n\u003cp>Cal-A, the event’s DJ and one of P-Lo’s co-producers on the album, hits play on the opening track. Girls take selfies in front of a giant print-out of the \u003cem>More Than Anything\u003c/em> album cover, which features P-Lo’s gold-toothed grin in front of a soft, beige background. Bay Area hip-hop celebs like Iamsu and Dave Steezy mingle with other artists in the room; Rexx Life Raj, who’s embarking on a tour with P-Lo in June, walks in with an adorable French bulldog. P-Lo introduces each song emphatically on the mic, and then everyone cheers him on as he dances earnestly to his own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=anuggbRjR4o\u003c/p>\n\u003cp>P-Lo, aka Paolo Rodriguez, first gained recognition as the producer of Yo Gotti’s “Act Right” and Wiz Khalifa’s “Bout Me.” A Pinole native, he’s made countless beats for fellow members of \u003ca href=\"http://www.hbkgang.com/\" target=\"_blank\" rel=\"noopener\">HBK Gang\u003c/a>, including Iamsu, Sage the Gemini, and Kool John. When people talk about the “post-hyphy” sound of the contemporary Bay Area rap scene, they’re likely referring to his work, which evolves the sparse synths and hard-hitting drums of the 2000s into something sleeker and more radio-friendly. Even though his reputation as a prolific slap-maker precedes him, he also has a strong resume as a rapper, with regional hits like “Going to Work” and “Light This B-tch Up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But for the past year and a half, P-Lo says, he’s been thinking seriously about how he can elevate himself as an artist rather than a producer. \u003cem>More Than Anything\u003c/em> is the second chapter of a three-part autobiographical album series, following last year’s \u003cem>Before Anything\u003c/em>. And with this latest project especially, he sought to reveal more of himself to his fans while expanding his sonic range.\u003c/p>\n\u003cp>“I’ve been a part of a lot of things, but this is kind of my first offering,” he says. “I’ve had mixtapes before, but I haven’t taken them as seriously as I took this one. I haven’t applied as much effort and planning and mind-power [as I did] to get this to where it’s at.”\u003c/p>\n\u003cp>Part of that process is branding. And indeed, looking around the gallery at the listening party, you can tell he’s honed in on a new, more refined visual aesthetic. Portraits of P-Lo by Mancy Gant, the photographer behind Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em> album cover, hang on the wall. A couple of them are out of focus; in one, P-Lo wears an expression of simultaneous pleasure and pain as a hand pulls his hair. It’s vulnerable and intimate, suggesting that P-Lo’s evolving past the party-boy persona he cultivated on past projects.\u003c/p>\n\u003cfigure id=\"attachment_13194415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">P-Lo. \u003ccite>(Dan Franco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The past year, I’ve been learning about myself and, more than anything, it’s been a growing process for me as an artist, as a human, and as a business,” he says. “I’ve been in the music business for some years now, just being on the producer side, you know what I’m sayin’. So I’ve been able to soak in a lot of game and apply that game to what I want to be.”\u003c/p>\n\u003cp>Throughout \u003cem>More Than Anything\u003c/em>, P-Lo meditates almost obsessively on what it takes to become successful. Unlike his last major project (\u003cem>Moovie!\u003c/em>, with Kool John) he doesn’t strive to project the image of a rockstar lifestyle. Instead, he gets introspective, opening up about his ups and downs.\u003c/p>\n\u003cp>“That’s something a lot of people aren’t able to see — well, not yet, at least,” he says, of his honest, more self-reflective lyrics. “People love having fun, but as I’ve matured there’s different layers of myself that I want to show, and stay true to myself. And I think — I know — that’s what I did [on this record], because everything really felt natural.”\u003c/p>\n\u003cp>The beats are more varied on \u003cem>More Than Anything\u003c/em>, too. There are soulful jams with hints of tropical house and R&B; songs for cruising around in the whip and songs for dancing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U-uadpyaPU8\u003c/p>\n\u003cp>Still, despite branching out, P-Lo hasn’t abandoned his hyphy roots. At the listening party, the energy in the room goes up a notch when Cal-A plays “Put Me On Something,” the lead single from \u003cem>More Than Anything,\u003c/em> which features E-40. The attendees get less self-conscious. Some people start gigging, others pull out cellphones and take goofy Snaps with their friends. That optimism and confidence P-Lo alludes to throughout our interview courses through the room.\u003c/p>\n\u003cp>“Every morning, I feel inspired and really excited about life,” he tells me later. “I want people to feel that.”\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=\"Q.Logo.Break\" 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>P-Lo’s next Bay Area show is July 7 at the Regency Ballroom in San Francisco.\u003c/em> \u003cem>\u003ca href=\"http://www.axs.com/events/335239/p-lo-tickets?skin=regency&src=AEGLIVE_WREGYSFO030115VEN001\" target=\"_blank\" rel=\"noopener\">Tickets ($25 and up) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Twenty-six year-old producer P-Lo helped sculpt the current sound of Bay Area hip-hop. Now on the mic, 'More Than Anything' proves he deserves his own moment. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Sunday evening, P-Lo’s friends and fans crowd into a small Tenderloin art gallery for the listening party for his upcoming album, \u003cem>More Than Anything\u003c/em>. This also happens to be the rapper and producer’s 26th birthday, but he’d probably be in just as good a mood even if it wasn’t.\u003c/p>\n\u003cp>“\u003cem>More Than Anything\u003c/em> means a lot of different things. I have this certain belief in myself that I want to show through my music,” P-Lo announces, beaming, as everyone gathers to hear his new project, released independently on May 12. “And through my music, I want people to feel the same way I feel about myself as themselves.”\u003c/p>\n\u003cp>Cal-A, the event’s DJ and one of P-Lo’s co-producers on the album, hits play on the opening track. Girls take selfies in front of a giant print-out of the \u003cem>More Than Anything\u003c/em> album cover, which features P-Lo’s gold-toothed grin in front of a soft, beige background. Bay Area hip-hop celebs like Iamsu and Dave Steezy mingle with other artists in the room; Rexx Life Raj, who’s embarking on a tour with P-Lo in June, walks in with an adorable French bulldog. P-Lo introduces each song emphatically on the mic, and then everyone cheers him on as he dances earnestly to his own music.\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/anuggbRjR4o'\n title='//www.youtube.com/embed/anuggbRjR4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>P-Lo, aka Paolo Rodriguez, first gained recognition as the producer of Yo Gotti’s “Act Right” and Wiz Khalifa’s “Bout Me.” A Pinole native, he’s made countless beats for fellow members of \u003ca href=\"http://www.hbkgang.com/\" target=\"_blank\" rel=\"noopener\">HBK Gang\u003c/a>, including Iamsu, Sage the Gemini, and Kool John. When people talk about the “post-hyphy” sound of the contemporary Bay Area rap scene, they’re likely referring to his work, which evolves the sparse synths and hard-hitting drums of the 2000s into something sleeker and more radio-friendly. Even though his reputation as a prolific slap-maker precedes him, he also has a strong resume as a rapper, with regional hits like “Going to Work” and “Light This B-tch Up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for the past year and a half, P-Lo says, he’s been thinking seriously about how he can elevate himself as an artist rather than a producer. \u003cem>More Than Anything\u003c/em> is the second chapter of a three-part autobiographical album series, following last year’s \u003cem>Before Anything\u003c/em>. And with this latest project especially, he sought to reveal more of himself to his fans while expanding his sonic range.\u003c/p>\n\u003cp>“I’ve been a part of a lot of things, but this is kind of my first offering,” he says. “I’ve had mixtapes before, but I haven’t taken them as seriously as I took this one. I haven’t applied as much effort and planning and mind-power [as I did] to get this to where it’s at.”\u003c/p>\n\u003cp>Part of that process is branding. And indeed, looking around the gallery at the listening party, you can tell he’s honed in on a new, more refined visual aesthetic. Portraits of P-Lo by Mancy Gant, the photographer behind Kamaiyah’s \u003cem>A Good Night in the Ghetto\u003c/em> album cover, hang on the wall. A couple of them are out of focus; in one, P-Lo wears an expression of simultaneous pleasure and pain as a hand pulls his hair. It’s vulnerable and intimate, suggesting that P-Lo’s evolving past the party-boy persona he cultivated on past projects.\u003c/p>\n\u003cfigure id=\"attachment_13194415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13194415\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/P-Lo-2_pc-NAME-28129-1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">P-Lo. \u003ccite>(Dan Franco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The past year, I’ve been learning about myself and, more than anything, it’s been a growing process for me as an artist, as a human, and as a business,” he says. “I’ve been in the music business for some years now, just being on the producer side, you know what I’m sayin’. So I’ve been able to soak in a lot of game and apply that game to what I want to be.”\u003c/p>\n\u003cp>Throughout \u003cem>More Than Anything\u003c/em>, P-Lo meditates almost obsessively on what it takes to become successful. Unlike his last major project (\u003cem>Moovie!\u003c/em>, with Kool John) he doesn’t strive to project the image of a rockstar lifestyle. Instead, he gets introspective, opening up about his ups and downs.\u003c/p>\n\u003cp>“That’s something a lot of people aren’t able to see — well, not yet, at least,” he says, of his honest, more self-reflective lyrics. “People love having fun, but as I’ve matured there’s different layers of myself that I want to show, and stay true to myself. And I think — I know — that’s what I did [on this record], because everything really felt natural.”\u003c/p>\n\u003cp>The beats are more varied on \u003cem>More Than Anything\u003c/em>, too. There are soulful jams with hints of tropical house and R&B; songs for cruising around in the whip and songs for dancing.\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/U-uadpyaPU8'\n title='//www.youtube.com/embed/U-uadpyaPU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, despite branching out, P-Lo hasn’t abandoned his hyphy roots. At the listening party, the energy in the room goes up a notch when Cal-A plays “Put Me On Something,” the lead single from \u003cem>More Than Anything,\u003c/em> which features E-40. The attendees get less self-conscious. Some people start gigging, others pull out cellphones and take goofy Snaps with their friends. That optimism and confidence P-Lo alludes to throughout our interview courses through the room.\u003c/p>\n\u003cp>“Every morning, I feel inspired and really excited about life,” he tells me later. “I want people to feel that.”\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=\"Q.Logo.Break\" 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>P-Lo’s next Bay Area show is July 7 at the Regency Ballroom in San Francisco.\u003c/em> \u003cem>\u003ca href=\"http://www.axs.com/events/335239/p-lo-tickets?skin=regency&src=AEGLIVE_WREGYSFO030115VEN001\" target=\"_blank\" rel=\"noopener\">Tickets ($25 and up) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dame Drummer's 'Black and Beautiful' Rises Above the Negativity",
"headTitle": "Dame Drummer’s ‘Black and Beautiful’ Rises Above the Negativity | KQED",
"content": "\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. A new one is posted each week.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When 12-year-old Tamir Rice was killed by Cleveland police officers in 2014 — after a caller reported a young black male brandishing a gun, which turned out to be a toy — Americans reacted in the now-familiar ways we respond to police shootings. There were protests in the streets, hashtags on Twitter, and press conferences on the evening news.\u003c/p>\n\u003cp>But for \u003ca href=\"https://www.facebook.com/damedrummer/?ref=br_rs\" target=\"_blank\" rel=\"noopener\">Dame Drummer\u003c/a>, a Cleveland native and a father of two, the shooting was personal.\u003c/p>\n\u003cp>“I felt helpless,” says Dame, a drummer, singer-songwriter, and producer who’s lived in Oakland since 2012, working with a broad swath of artists in hip-hop, R&B and jazz. “As a father of a young black boy, it was, ‘My son likes to play with Nerf guns. It could have been him.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qZWPizUlMjM\u003c/p>\n\u003cp>That “place of heartbreak,” says the musician, is what inspired “Black and Beautiful,” a track from Dame’s forthcoming album \u003cem>LOVEolution. \u003c/em>With lyrics that speak directly to black youth about the importance of reclaiming their roots, taking pride in their history and rejecting negative messages about their worth from both inside and outside their communities, it’s based on a poem by the spoken word artist OneTruth, a close friend of Dame’s from the open mic scene back home in Cleveland. Dame composed the melody and hook around it, then reached out to two musician friends with whom he’d worked before — pianist/emcee Kev Choice and rapper Zumbi from Zion I, who promptly responded with guest verses.\u003c/p>\n\u003cp>The video, directed by Kevin Taylor, includes poignant scenes of children — two of them Dame’s own son, 9, and daughter, 4 — in and around Oakland, dropping in on neighborhood stores and running into the track’s featured artists. Spliced into their journey are flashes of racist cartoons and other jarring imagery from slavery’s dark past. Throughout the video, people are also seen wearing crude face masks — which, Dame says, stand in for the stereotypes that young black kids must resist internalizing.\u003c/p>\n\u003cfigure id=\"attachment_12877878\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12877878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Dame.ZIon_.jpg\" alt=\"Dame Drummer and Zumbi from Zion I in the studio.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Dame Drummer and Zumbi from Zion I in the studio.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>LOVEolution, \u003c/em>which is\u003cem> \u003c/em>Dame’s sophomore solo effort, doesn’t have a release date yet, but the songs that are completed include features by Mistah FAB, Viveca Hawkins, and more. There are love songs, says Dame, and more upbeat party songs as well. “I just want to use my gift to make art that’s positive, that speaks to my community,” he says. “It’s my obligation as an artist, and it’s also my responsibility to my kids, to be their teacher.”\u003c/p>\n\u003cp>In the video for “Black and Beautiful,” it’s no accident that the kids’ journey culminates at the Roses in Concrete school in East Oakland, a two-year-old community school attended predominantly by students of color, with a curriculum geared toward social justice. (The school is named after a poem by \u003ca href=\"https://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener\">Bay Area native Tupac Shakur\u003c/a>.) The kids there were quick to understand the messages of the song when Dame came in to explain it, he says. They also helped make the masks in their classrooms.\u003c/p>\n\u003cp>“That’s a school that empowers the black and brown community, and [those students] are already sharp,” he says. “I came and told them, ‘Those masks represent all the lies, everything that’s negative that’s said about you.'” Which, of course, is what makes their smiles so very sweet when they finally pull the masks off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "'The skin that I'm in is not a sin, as a matter of fact it's beautiful / Paint a grim picture of all my folks, but all of that's gonna blow up in smoke'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. A new one is posted each week.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>When 12-year-old Tamir Rice was killed by Cleveland police officers in 2014 — after a caller reported a young black male brandishing a gun, which turned out to be a toy — Americans reacted in the now-familiar ways we respond to police shootings. There were protests in the streets, hashtags on Twitter, and press conferences on the evening news.\u003c/p>\n\u003cp>But for \u003ca href=\"https://www.facebook.com/damedrummer/?ref=br_rs\" target=\"_blank\" rel=\"noopener\">Dame Drummer\u003c/a>, a Cleveland native and a father of two, the shooting was personal.\u003c/p>\n\u003cp>“I felt helpless,” says Dame, a drummer, singer-songwriter, and producer who’s lived in Oakland since 2012, working with a broad swath of artists in hip-hop, R&B and jazz. “As a father of a young black boy, it was, ‘My son likes to play with Nerf guns. It could have been him.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qZWPizUlMjM'\n title='//www.youtube.com/embed/qZWPizUlMjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That “place of heartbreak,” says the musician, is what inspired “Black and Beautiful,” a track from Dame’s forthcoming album \u003cem>LOVEolution. \u003c/em>With lyrics that speak directly to black youth about the importance of reclaiming their roots, taking pride in their history and rejecting negative messages about their worth from both inside and outside their communities, it’s based on a poem by the spoken word artist OneTruth, a close friend of Dame’s from the open mic scene back home in Cleveland. Dame composed the melody and hook around it, then reached out to two musician friends with whom he’d worked before — pianist/emcee Kev Choice and rapper Zumbi from Zion I, who promptly responded with guest verses.\u003c/p>\n\u003cp>The video, directed by Kevin Taylor, includes poignant scenes of children — two of them Dame’s own son, 9, and daughter, 4 — in and around Oakland, dropping in on neighborhood stores and running into the track’s featured artists. Spliced into their journey are flashes of racist cartoons and other jarring imagery from slavery’s dark past. Throughout the video, people are also seen wearing crude face masks — which, Dame says, stand in for the stereotypes that young black kids must resist internalizing.\u003c/p>\n\u003cfigure id=\"attachment_12877878\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12877878\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Dame.ZIon_.jpg\" alt=\"Dame Drummer and Zumbi from Zion I in the studio.\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Dame.ZIon_-150x150.jpg 150w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Dame Drummer and Zumbi from Zion I in the studio.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>LOVEolution, \u003c/em>which is\u003cem> \u003c/em>Dame’s sophomore solo effort, doesn’t have a release date yet, but the songs that are completed include features by Mistah FAB, Viveca Hawkins, and more. There are love songs, says Dame, and more upbeat party songs as well. “I just want to use my gift to make art that’s positive, that speaks to my community,” he says. “It’s my obligation as an artist, and it’s also my responsibility to my kids, to be their teacher.”\u003c/p>\n\u003cp>In the video for “Black and Beautiful,” it’s no accident that the kids’ journey culminates at the Roses in Concrete school in East Oakland, a two-year-old community school attended predominantly by students of color, with a curriculum geared toward social justice. (The school is named after a poem by \u003ca href=\"https://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener\">Bay Area native Tupac Shakur\u003c/a>.) The kids there were quick to understand the messages of the song when Dame came in to explain it, he says. They also helped make the masks in their classrooms.\u003c/p>\n\u003cp>“That’s a school that empowers the black and brown community, and [those students] are already sharp,” he says. “I came and told them, ‘Those masks represent all the lies, everything that’s negative that’s said about you.'” Which, of course, is what makes their smiles so very sweet when they finally pull the masks off.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Rapper Alia Sharrief Wants Trump to Know She’s Not Scared",
"headTitle": "Oakland Rapper Alia Sharrief Wants Trump to Know She’s Not Scared | KQED",
"content": "\u003cp>Alia Sharrief arrives for our interview wearing an oversized T-shirt that reads “Danger: Educated Black Woman” over her tunic. It’s paired with a flowing red and black hijab. Her grandmother, Margaret Block, was \u003ca href=\"http://sfbayview.com/2015/06/tribute-to-civil-rights-activist-margaret-block/\" target=\"_blank\" rel=\"noopener\">a well-known Black Panther\u003c/a>; after she passed away in 2015, Sharrief Googled her name and found photos of her grandmother wearing a T-shirt with the same slogan.\u003c/p>\n\u003cp>“She’s my whole inspiration for what I do,” says Sharrief, a rapper and activist based in Oakland. “She told me, when I was little, to pencil-whip ’em. I never got it ’til she explained to me: Instead of getting all stressed or depressed or irritated or angry, you need to use your pencil as a weapon and write the hardest thing you can write.”\u003c/p>\n\u003cp>That advice has certainly translated to Sharrief’s approach to her work, which deftly reflects her identity: she’s a rapper and a women’s rights activist; a black woman and a devout Muslim. It’s not unusual to find her speaking at a protest one day and shooting a music video in a lowrider the next. When she’s not in the studio or performing, she’s organizing youth workshops and running \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">The Hijabi Chronicles\u003c/a>, an online platform that celebrates the creativity of Muslim women.\u003c/p>\n\u003cp>At the moment, Sharrief is working on her upcoming album \u003cem>Back On My Deen\u003c/em>, a project with outspoken lyrics and funky, danceable beats with “Bay slap” in them, as she puts it. “Deen,” Sharrief explains, is a word from the Quran that refers to a righteous path. Sharrief wants to use the album to amplify her voice at a time when, she says, Muslim women rarely get a chance to tell their own stories in the media and pop culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l9NPtaViaLg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With this specific project, it was just a way for me to speak up for not only myself, but for the millions of women and Muslim women who are seen as oppressed or seen as having a disadvantage because I have on a hijab, or that I have a disadvantage because my skin is dark,” she says coolly. “On this album, I embrace everything I am and everything that is rejected and marginalized in this industry.”\u003c/p>\n\u003cp>Sharrief is busy these days. Before she releases the album at the end of February, she’s dropping the EP \u003cem>Don’t Forget Me\u003c/em> in early January. In contrast to the full-length project, \u003cem>Don’t Forget Me\u003c/em> is light-hearted, with feel-good tracks more in the vein of her autobiographical 2012 debut, \u003cem>Mental Cycles & Mood Swings, \u003c/em>an album that grappled with self-discovery and coming of age.\u003c/p>\n\u003cp>“I’m not a preacher in my music,” she says of the contrast between the two records, adding that she admires how Tupac and Lauryn Hill balanced making catchy and meaningful work.\u003c/p>\n\u003cp>Her skill in achieving that balance has been obvious enough, at least, to catch the attention of One Drop Scott, a veteran Bay Area producer who worked with Mac Dre; Scott produced \u003cem>Mental Cycles \u003c/em>as well.\u003cem> \u003c/em>Both he and San Francisco’s Pharoahgahmoe handled production on both of Sharrief’s upcoming projects.\u003c/p>\n\u003cp>Sharrief is originally from Sacramento, and while the rest of her family is Christian, her parents both converted to Islam independently before they met.\u003c/p>\n\u003cp>“I grew up in a religious household, but I also grew up in a black household,” said Sharrief. “We were Muslim and we went to the Mosque, we celebrated Eid, we celebrated our traditions, we prayed. But we also deal with the racism in our communities.”\u003c/p>\n\u003cp>As an adolescent, Sharrief wanted to be a soul singer but switched to rapping full time after an accident damaged her vocal chords. After relocating to the Bay Area nearly 10 years ago to attend community college, she transferred to California State University, East Bay to study media and broadcasting, and introduce herself to the local music scene. That process was not without its growing pains.\u003c/p>\n\u003cp>“It took me some time to find the middle mark and say, ‘Okay, I’m Muslim and I’m black. I can do this both,’” she said. “And I think it happened after my first album for sure.”\u003c/p>\n\u003cp>Sharrief’s music has grown increasingly, overtly political as she’s become more involved with activism in recent years. In a remix of Beyoncé’s “Formation” called “Information,” she uses a sample of Malcolm X’s speech from the 1964 March on Washington as a hook — over which she raps lines like \u003ci>I like my hijab on/I stay covered up ’cause I be headstrong,\u003c/i> interwoven with lyrics about police brutality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_tiMcEssLjM\u003c/p>\n\u003cp>Unsurprisingly, she’s built a following in local conscious hip-hop circles, and has become a regular name at events that combine music and social justice work.\u003cspan class=\"x_gmail-s1\"> \u003c/span>\u003c/p>\n\u003cp>In October, she held it down as one of the only female performers at the Black Panther Party’s 50th anniversary rally and concert in Frank Ogawa Plaza, sharing the stage with local legends Mistah F.A.B., Dru Down, and Tajai of Hieroglyphics. Earlier this month at the Fox Theater, s\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/live-review-yasiin-bey-mos-def-belies-retirement-at-fox-theater/\" target=\"_blank\" rel=\"noopener\">he opened for rap legend Yasiin Bey (formerly known as Mos Def), who’s currently on his last tour before he retires from music\u003c/a>. The show went so well that Bey invited her to open for him again in Sacramento.\u003c/p>\n\u003cp>Sharrief’s music feels urgent — especially in light of the recent Trump victory, and the ensuing spike in hate crimes against people of color, particularly against Muslim women in religious dress. But the rapper says she’s not intimidated by the current political climate, in part because rapping offers her a platform to speak truth to power.\u003c/p>\n\u003cp>Indeed, one of the first things Sharrief did after Trump won the election was speak at a protest organized by the Black Power Network.\u003c/p>\n\u003cp>“For me, as a Muslim woman, I found that it was important for me to go to this protest and speak for Muslim women like, ‘We’re not scared of this,’” she says. “But it is hard when you have to go through this kind of racism. I know from experience. When 9/11 happened, I was at school and I got my hijab torn off.”\u003c/p>\n\u003cp>Despite the challenges the next four years promise, Sharrief said it’s important for marginalized people and allies to organize. “I feel like the best way to beat a bully is to stand up to a bully and show him you ain’t gon’ take it,” she says. “And right now, he’s all words. He ain’t got no action. And God willing, he won’t be able to do no action with the power of the people.\u003c/p>\n\u003cp>“Long story short, what’s up Trump? Whatchu got for us?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "For this up-and-coming Muslim musician and activist, hip-hop, civil rights and religious freedom are intrinsically entwined -- and no politician's going to slow her down. ",
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"description": "For this up-and-coming Muslim musician and activist, hip-hop, civil rights and religious freedom are intrinsically entwined -- and no politician's going to slow her down. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alia Sharrief arrives for our interview wearing an oversized T-shirt that reads “Danger: Educated Black Woman” over her tunic. It’s paired with a flowing red and black hijab. Her grandmother, Margaret Block, was \u003ca href=\"http://sfbayview.com/2015/06/tribute-to-civil-rights-activist-margaret-block/\" target=\"_blank\" rel=\"noopener\">a well-known Black Panther\u003c/a>; after she passed away in 2015, Sharrief Googled her name and found photos of her grandmother wearing a T-shirt with the same slogan.\u003c/p>\n\u003cp>“She’s my whole inspiration for what I do,” says Sharrief, a rapper and activist based in Oakland. “She told me, when I was little, to pencil-whip ’em. I never got it ’til she explained to me: Instead of getting all stressed or depressed or irritated or angry, you need to use your pencil as a weapon and write the hardest thing you can write.”\u003c/p>\n\u003cp>That advice has certainly translated to Sharrief’s approach to her work, which deftly reflects her identity: she’s a rapper and a women’s rights activist; a black woman and a devout Muslim. It’s not unusual to find her speaking at a protest one day and shooting a music video in a lowrider the next. When she’s not in the studio or performing, she’s organizing youth workshops and running \u003ca href=\"http://thehijabichronicles.com/\" target=\"_blank\" rel=\"noopener\">The Hijabi Chronicles\u003c/a>, an online platform that celebrates the creativity of Muslim women.\u003c/p>\n\u003cp>At the moment, Sharrief is working on her upcoming album \u003cem>Back On My Deen\u003c/em>, a project with outspoken lyrics and funky, danceable beats with “Bay slap” in them, as she puts it. “Deen,” Sharrief explains, is a word from the Quran that refers to a righteous path. Sharrief wants to use the album to amplify her voice at a time when, she says, Muslim women rarely get a chance to tell their own stories in the media and pop culture.\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/l9NPtaViaLg'\n title='//www.youtube.com/embed/l9NPtaViaLg'\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>“With this specific project, it was just a way for me to speak up for not only myself, but for the millions of women and Muslim women who are seen as oppressed or seen as having a disadvantage because I have on a hijab, or that I have a disadvantage because my skin is dark,” she says coolly. “On this album, I embrace everything I am and everything that is rejected and marginalized in this industry.”\u003c/p>\n\u003cp>Sharrief is busy these days. Before she releases the album at the end of February, she’s dropping the EP \u003cem>Don’t Forget Me\u003c/em> in early January. In contrast to the full-length project, \u003cem>Don’t Forget Me\u003c/em> is light-hearted, with feel-good tracks more in the vein of her autobiographical 2012 debut, \u003cem>Mental Cycles & Mood Swings, \u003c/em>an album that grappled with self-discovery and coming of age.\u003c/p>\n\u003cp>“I’m not a preacher in my music,” she says of the contrast between the two records, adding that she admires how Tupac and Lauryn Hill balanced making catchy and meaningful work.\u003c/p>\n\u003cp>Her skill in achieving that balance has been obvious enough, at least, to catch the attention of One Drop Scott, a veteran Bay Area producer who worked with Mac Dre; Scott produced \u003cem>Mental Cycles \u003c/em>as well.\u003cem> \u003c/em>Both he and San Francisco’s Pharoahgahmoe handled production on both of Sharrief’s upcoming projects.\u003c/p>\n\u003cp>Sharrief is originally from Sacramento, and while the rest of her family is Christian, her parents both converted to Islam independently before they met.\u003c/p>\n\u003cp>“I grew up in a religious household, but I also grew up in a black household,” said Sharrief. “We were Muslim and we went to the Mosque, we celebrated Eid, we celebrated our traditions, we prayed. But we also deal with the racism in our communities.”\u003c/p>\n\u003cp>As an adolescent, Sharrief wanted to be a soul singer but switched to rapping full time after an accident damaged her vocal chords. After relocating to the Bay Area nearly 10 years ago to attend community college, she transferred to California State University, East Bay to study media and broadcasting, and introduce herself to the local music scene. That process was not without its growing pains.\u003c/p>\n\u003cp>“It took me some time to find the middle mark and say, ‘Okay, I’m Muslim and I’m black. I can do this both,’” she said. “And I think it happened after my first album for sure.”\u003c/p>\n\u003cp>Sharrief’s music has grown increasingly, overtly political as she’s become more involved with activism in recent years. In a remix of Beyoncé’s “Formation” called “Information,” she uses a sample of Malcolm X’s speech from the 1964 March on Washington as a hook — over which she raps lines like \u003ci>I like my hijab on/I stay covered up ’cause I be headstrong,\u003c/i> interwoven with lyrics about police brutality.\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/_tiMcEssLjM'\n title='//www.youtube.com/embed/_tiMcEssLjM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unsurprisingly, she’s built a following in local conscious hip-hop circles, and has become a regular name at events that combine music and social justice work.\u003cspan class=\"x_gmail-s1\"> \u003c/span>\u003c/p>\n\u003cp>In October, she held it down as one of the only female performers at the Black Panther Party’s 50th anniversary rally and concert in Frank Ogawa Plaza, sharing the stage with local legends Mistah F.A.B., Dru Down, and Tajai of Hieroglyphics. Earlier this month at the Fox Theater, s\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/live-review-yasiin-bey-mos-def-belies-retirement-at-fox-theater/\" target=\"_blank\" rel=\"noopener\">he opened for rap legend Yasiin Bey (formerly known as Mos Def), who’s currently on his last tour before he retires from music\u003c/a>. The show went so well that Bey invited her to open for him again in Sacramento.\u003c/p>\n\u003cp>Sharrief’s music feels urgent — especially in light of the recent Trump victory, and the ensuing spike in hate crimes against people of color, particularly against Muslim women in religious dress. But the rapper says she’s not intimidated by the current political climate, in part because rapping offers her a platform to speak truth to power.\u003c/p>\n\u003cp>Indeed, one of the first things Sharrief did after Trump won the election was speak at a protest organized by the Black Power Network.\u003c/p>\n\u003cp>“For me, as a Muslim woman, I found that it was important for me to go to this protest and speak for Muslim women like, ‘We’re not scared of this,’” she says. “But it is hard when you have to go through this kind of racism. I know from experience. When 9/11 happened, I was at school and I got my hijab torn off.”\u003c/p>\n\u003cp>Despite the challenges the next four years promise, Sharrief said it’s important for marginalized people and allies to organize. “I feel like the best way to beat a bully is to stand up to a bully and show him you ain’t gon’ take it,” she says. “And right now, he’s all words. He ain’t got no action. And God willing, he won’t be able to do no action with the power of the people.\u003c/p>\n\u003cp>“Long story short, what’s up Trump? Whatchu got for us?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 10 Best Bay Area Albums of 2016: Caleborate, '1993'",
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"content": "\u003cp>The biggest stories in rap this year were about comebacks: A Tribe Called Quest’s first album in 18 years, Gucci Mane’s release from prison and welcome re-entry on the charts. But in the Bay, as it usually is, the story was all about new birth – and from most angles, no rapper represented vital emergence more than Caleborate with \u003cem>1993\u003c/em>.\u003c/p>\n\u003cp>If the 23-year-old Caleb Parker wanted to make an album to appeal to old Tribe heads, or early Kanye stans, or puritans dedicated to “the culture,” he succeeded. 1993 knocks with all the dependable head-nodding elements: soul samples, boom-bap beats, squiggly bass lines. One of the album’s best tracks, “Thank God,” actually opens with the line “I miss the old days.” And the album’s named for \u003ca href=\"https://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">the Golden Year of Hip-Hop\u003c/a>, fer chrissakes. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X139sHYUQLc\u003c/p>\n\u003cp>But \u003cem>1993\u003c/em> isn’t a throwback for throwback’s sake. “Aug. 28” describes Parker’s journey to the Bay Area from his native Sacramento with a raw hunger and determination, backed by a sparse drum slap and oscillating waveform. “250 AM” describes conditions once he came here: exorbitant rent, low vacancy, gentrification, white kids at his shows pretending to be hood. Throughout, the album is peppered with conversations about the changing face of West Oakland and the Fillmore, and about the decimation of Oakland’s culture. \u003c/p>\n\u003cp>These are resonant issues in the Bay, where the black population in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">is on an alarming decline\u003c/a>, and where hip-hop talent \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener\">like Zion-I is priced out\u003c/a>. And though there’s no rule mandating that rap music must address these issues — too many listeners of hip-hop demand that victims also be vocal activists — Caleborate does so with both mindfulness and heart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LmmpSqj56Wk\u003c/p>\n\u003cp>He’s also not in it only for the serious stuff. On \u003cem>1993\u003c/em>, the “world’s hottest rapper still tryin’ to finish school” mellows out with friends (“Consequences”), plays video games in the middle of the street (see the video above for “Game Over”), and tries not to get derailed in his craft by beautiful girls (just about every other song). In other words, he’s a regular 23-year-old — albeit one that \u003ca href=\"https://www.instagram.com/p/BOBsCLuBaiW/\" target=\"_blank\" rel=\"noopener\">performed in front of thousands\u003c/a> at Oracle Arena this week, opening for collaborator and supporter G-Eazy.\u003c/p>\n\u003cp>Parker might want to get used to those stages. Earlier this year, when I \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/meet-23-year-old-caleborate-the-east-bays-next-rap-titan/\" target=\"_blank\" rel=\"noopener\">hung out with him for a week\u003c/a>, I watched fan after fan approach him on the street to take selfies. When I saw him at UC Berkeley, or Hiero Day, or in a club setting with a live band, he won over the crowds with his charm, determination and talent. If he keeps making slam-dunk albums like \u003cem>1993\u003c/em>, they’ll only get bigger. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The biggest stories in rap this year were about comebacks: A Tribe Called Quest’s first album in 18 years, Gucci Mane’s release from prison and welcome re-entry on the charts. But in the Bay, as it usually is, the story was all about new birth – and from most angles, no rapper represented vital emergence more than Caleborate with \u003cem>1993\u003c/em>.\u003c/p>\n\u003cp>If the 23-year-old Caleb Parker wanted to make an album to appeal to old Tribe heads, or early Kanye stans, or puritans dedicated to “the culture,” he succeeded. 1993 knocks with all the dependable head-nodding elements: soul samples, boom-bap beats, squiggly bass lines. One of the album’s best tracks, “Thank God,” actually opens with the line “I miss the old days.” And the album’s named for \u003ca href=\"https://ww2.kqed.org/arts/2014/11/05/the-top-five-hip-hop-songs-from-1993-with-marc-bamuthi-joseph/\" target=\"_blank\" rel=\"noopener\">the Golden Year of Hip-Hop\u003c/a>, fer chrissakes. \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/X139sHYUQLc'\n title='//www.youtube.com/embed/X139sHYUQLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But \u003cem>1993\u003c/em> isn’t a throwback for throwback’s sake. “Aug. 28” describes Parker’s journey to the Bay Area from his native Sacramento with a raw hunger and determination, backed by a sparse drum slap and oscillating waveform. “250 AM” describes conditions once he came here: exorbitant rent, low vacancy, gentrification, white kids at his shows pretending to be hood. Throughout, the album is peppered with conversations about the changing face of West Oakland and the Fillmore, and about the decimation of Oakland’s culture. \u003c/p>\n\u003cp>These are resonant issues in the Bay, where the black population in San Francisco \u003ca href=\"https://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area/\" target=\"_blank\" rel=\"noopener\">is on an alarming decline\u003c/a>, and where hip-hop talent \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener\">like Zion-I is priced out\u003c/a>. And though there’s no rule mandating that rap music must address these issues — too many listeners of hip-hop demand that victims also be vocal activists — Caleborate does so with both mindfulness and heart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LmmpSqj56Wk'\n title='//www.youtube.com/embed/LmmpSqj56Wk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s also not in it only for the serious stuff. On \u003cem>1993\u003c/em>, the “world’s hottest rapper still tryin’ to finish school” mellows out with friends (“Consequences”), plays video games in the middle of the street (see the video above for “Game Over”), and tries not to get derailed in his craft by beautiful girls (just about every other song). In other words, he’s a regular 23-year-old — albeit one that \u003ca href=\"https://www.instagram.com/p/BOBsCLuBaiW/\" target=\"_blank\" rel=\"noopener\">performed in front of thousands\u003c/a> at Oracle Arena this week, opening for collaborator and supporter G-Eazy.\u003c/p>\n\u003cp>Parker might want to get used to those stages. Earlier this year, when I \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/meet-23-year-old-caleborate-the-east-bays-next-rap-titan/\" target=\"_blank\" rel=\"noopener\">hung out with him for a week\u003c/a>, I watched fan after fan approach him on the street to take selfies. When I saw him at UC Berkeley, or Hiero Day, or in a club setting with a live band, he won over the crowds with his charm, determination and talent. If he keeps making slam-dunk albums like \u003cem>1993\u003c/em>, they’ll only get bigger. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: E-40, 'The D-Boy Diaries Books 1 & 2'",
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"content": "\u003cp>E-40 is one of the most exuberantly acrobatic rappers around, a stylist besotted with how non-lexicon coinage and contorted enunciation inflect words with new feeling and meaning. That spirit characterized his earliest work, as a member of Vallejo outfit The Click, and it defined an independent solo career that remains an aspirational beacon for Bay Area artists who want a regional empire with a national reputation. And the same sort of boundless invention helps explain why, after 25 solo releases, the appearance of 42-track double-album \u003cem>The D-Boy Diaries Books 1 & 2\u003c/em> is still an event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KxOoK36G2-Q\u003c/p>\n\u003cp>D-Boy Diaries opener “Stack it to the Ceiling” puts E-40’s carnivalesque wordplay at the fore with its circuitous riffs on weed-spilling party fouls, adobo, and a sucker “so full of sh*t you like a dog park mark-ass poodle.” (The last bit unfurls like one word.) Though there’s no local tribute-track here quite as charming as “707,” from 2014’s \u003cem>Sharp on All 4 Corners\u003c/em>, features from upstart rappers (and signees to 40’s Sick Wid It label) abound: Vallejo’s Nef the Pharaoh gamely guests alongside Mistah F.A.B. on “Bring Back the Sideshow.” And Funktown’s Ezale — whose 2016 DJ Fresh collaboration \u003cem>The Tonite Show\u003c/em> deserves note of its own — reveals a relatively understated, breathy flow on hyphy throwback “Straight to the Point.” (You just have to endure a typically wooden G-Eazy verse first.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12487305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png\" alt=\"e-40-the-d-boy-diary-books-1-2-iamhiphoptv\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1020x510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1180x590.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-520x260.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Radio hopeful “Savage” features one of those strangulated hooks popularized by Fetty Wap, but it lacks the singular charisma of E-40’s recent hits such as “Choices (Yup).” That’s hardly to the overall detriment of D-Boy Diaries, a generously stuffed album from an artist who could coast on clout if he wanted. And it bears mention that 40’s delivery in recent years feels even more embodied than it once did; he draws vigor and breath from chambers most humans aren’t blessed with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>Previously:\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito, ‘The Last Days of Oakland’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & the Get Down Stay Down: ‘A Man Alive’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>E-40 is one of the most exuberantly acrobatic rappers around, a stylist besotted with how non-lexicon coinage and contorted enunciation inflect words with new feeling and meaning. That spirit characterized his earliest work, as a member of Vallejo outfit The Click, and it defined an independent solo career that remains an aspirational beacon for Bay Area artists who want a regional empire with a national reputation. And the same sort of boundless invention helps explain why, after 25 solo releases, the appearance of 42-track double-album \u003cem>The D-Boy Diaries Books 1 & 2\u003c/em> is still an event.\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/KxOoK36G2-Q'\n title='//www.youtube.com/embed/KxOoK36G2-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>D-Boy Diaries opener “Stack it to the Ceiling” puts E-40’s carnivalesque wordplay at the fore with its circuitous riffs on weed-spilling party fouls, adobo, and a sucker “so full of sh*t you like a dog park mark-ass poodle.” (The last bit unfurls like one word.) Though there’s no local tribute-track here quite as charming as “707,” from 2014’s \u003cem>Sharp on All 4 Corners\u003c/em>, features from upstart rappers (and signees to 40’s Sick Wid It label) abound: Vallejo’s Nef the Pharaoh gamely guests alongside Mistah F.A.B. on “Bring Back the Sideshow.” And Funktown’s Ezale — whose 2016 DJ Fresh collaboration \u003cem>The Tonite Show\u003c/em> deserves note of its own — reveals a relatively understated, breathy flow on hyphy throwback “Straight to the Point.” (You just have to endure a typically wooden G-Eazy verse first.)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12487305\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png\" alt=\"e-40-the-d-boy-diary-books-1-2-iamhiphoptv\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-800x400.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-160x80.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-768x384.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1020x510.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-1180x590.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-960x480.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-240x120.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-375x188.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv-520x260.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/E-40-The-D-Boy-Diary-Books-1-2-iamhiphoptv.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Radio hopeful “Savage” features one of those strangulated hooks popularized by Fetty Wap, but it lacks the singular charisma of E-40’s recent hits such as “Choices (Yup).” That’s hardly to the overall detriment of D-Boy Diaries, a generously stuffed album from an artist who could coast on clout if he wanted. And it bears mention that 40’s delivery in recent years feels even more embodied than it once did; he draws vigor and breath from chambers most humans aren’t blessed with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>Previously:\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito, ‘The Last Days of Oakland’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">Thao & the Get Down Stay Down: ‘A Man Alive’\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into’\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sound Advice: 'The Future of Hip-Hop' Summit 2.0",
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"content": "\u003cp>Hip-hop, as any fan of the genre will tell you, is about far more than music: It’s visual art, it’s movement, it’s a \u003cem>culture\u003c/em>. For a taste of all three (plus some music, naturally) join the classical/hip-hop fusion orchestra Ensemble Mik Nawooj for an evening of talks and performances this Saturday at the \u003ca id=\"u_jsonp_41_g\" class=\"_5xhk\" href=\"https://www.facebook.com/artboutikisj/\">SLG Art Boutiki & Gallery\u003c/a> in San Jose.\u003c/p>\n\u003cp>Featured performers include graffiti artist \u003ca href=\"https://www.youtube.com/watch?v=h_aUh-1djwI&feature=youtu.be\">Ernest Doty\u003c/a>, the female breakdance crew \u003ca href=\"https://ww2.kqed.org/arts/2015/11/12/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene/\">Mix’d Ingrdnts\u003c/a> (see their KQED Arts video below), and representatives from the hip-hop therapy organization Beats, Rhymes & Life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b_qXCcgwAn8\u003c/p>\n\u003cp>Ensemble Mik Nawooj Artist Director JooWan Kim and others will lead TED-style talks between performances, based on the question: What\u003cem> is\u003c/em> the future of hip-hop? It’s a large-scale, ambitious prompt. But if you’ve ever heard EMN perform, you probably start with this: it’s something that won’t be easily contained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3g2b_B1fDOk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The second Future of Hip-Hop Summit takes place at 7:30pm on Saturday, Oct. 22 at the SLG Art Boutiki & Gallery, 44 Race St. in San Jose. \u003ca href=\"https://www.eventbrite.com/e/the-future-of-hip-hop-summit-tickets-28231312616\">Tickets ($15 – $20) here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hip-hop, as any fan of the genre will tell you, is about far more than music: It’s visual art, it’s movement, it’s a \u003cem>culture\u003c/em>. For a taste of all three (plus some music, naturally) join the classical/hip-hop fusion orchestra Ensemble Mik Nawooj for an evening of talks and performances this Saturday at the \u003ca id=\"u_jsonp_41_g\" class=\"_5xhk\" href=\"https://www.facebook.com/artboutikisj/\">SLG Art Boutiki & Gallery\u003c/a> in San Jose.\u003c/p>\n\u003cp>Featured performers include graffiti artist \u003ca href=\"https://www.youtube.com/watch?v=h_aUh-1djwI&feature=youtu.be\">Ernest Doty\u003c/a>, the female breakdance crew \u003ca href=\"https://ww2.kqed.org/arts/2015/11/12/%E2%80%AAwomen-dancers-redefine-oaklands-street-dancing-scene/\">Mix’d Ingrdnts\u003c/a> (see their KQED Arts video below), and representatives from the hip-hop therapy organization Beats, Rhymes & Life.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/b_qXCcgwAn8'\n title='//www.youtube.com/embed/b_qXCcgwAn8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ensemble Mik Nawooj Artist Director JooWan Kim and others will lead TED-style talks between performances, based on the question: What\u003cem> is\u003c/em> the future of hip-hop? It’s a large-scale, ambitious prompt. But if you’ve ever heard EMN perform, you probably start with this: it’s something that won’t be easily contained.\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/3g2b_B1fDOk'\n title='//www.youtube.com/embed/3g2b_B1fDOk'\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>\u003cem>The second Future of Hip-Hop Summit takes place at 7:30pm on Saturday, Oct. 22 at the SLG Art Boutiki & Gallery, 44 Race St. in San Jose. \u003ca href=\"https://www.eventbrite.com/e/the-future-of-hip-hop-summit-tickets-28231312616\">Tickets ($15 – $20) here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Weezy Demons: What We Learned From Lil Wayne's New Prison Memoir",
"headTitle": "Weezy Demons: What We Learned From Lil Wayne’s New Prison Memoir | KQED",
"content": "\u003cp>\u003cem>[\u003cstrong>Ed. note\u003c/strong>: Lil Wayne’s recollections include sex, drugs and profanity; we present them here uncensored. Reader be advised.]\u003c/em>\u003c/p>\n\u003cp>If you were to line up every famous piece of writing penned while its author was incarcerated, it would make for one vast and varied bookshelf — from the great Nelson Mandela’s autobiography \u003cem>Conversations With Myself\u003c/em>, written during his 27 years spent in prison, to the beginnings of Adolf Hitler’s \u003cem>Mein Kampf\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12167808\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167808\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg\" alt=\"'Gone 'til November,' by Lil Tunechi himself. \" width=\"432\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-400x555.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2.jpg 525w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Gone ’til November,’ by Lil Tunechi himself.\u003c/figcaption>\u003c/figure>\n\u003cp>Suffice it to say, the free time, loss of self-determination, forced reflection, and flat-out boredom that come with incarceration have long been recognized as a petri dish for the written word.\u003c/p>\n\u003cp>Exactly where in this literary canon will history place \u003cem>Gone ‘Til November\u003c/em>, Lil Wayne’s newly published journal from his eight months behind bars? Only time will tell. What I can tell you now, having recently finished the 176-page book (out Oct. 11; Penguin/Random House), is that prison sounds truly, mundanely and consistently miserable — even if you’re a celebrity worth $150 million.\u003c/p>\n\u003cp>Dwayne Michael Carter Jr., 34, is best known to the casual Top 40 fan as the raspy, cough syrup-coated drawl behind songs like 2008’s inescapable “Lollipop.” But to people who spend their days concerned with these sorts of rankings, he’s also one of the greatest rappers of all time; the \u003cem>Washington Post\u003c/em> once called him a “nonsensical genius,” while Kendrick Lamar, hip-hop’s current golden child, continues to \u003ca href=\"http://www.bet.com/music/2016/09/09/watch-kendrick-lamar-literally-beg-lil-wayne-not-to-retire.html\" target=\"_blank\" rel=\"noopener\">pledge his allegiance\u003c/a>. Wayne is scattershot at times, sure — but vital to the fabric of modern rap music nonetheless.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is part of why it made for such screaming headlines when Lil Wayne, aka Weezy, was convicted of possession of a firearm in 2009, and in March 2010 began serving a year at Rikers Island. That sentence was reduced to eight months, over the course of which the rapper apparently journaled nearly every single day.\u003c/p>\n\u003cp>The result is a simple (and, as someone in his camp clearly realized, easily marketable) diary: Each entry is titled with that day’s overarching mood or sentiment, from “Day 1 Up In This Bitch!” and “Welcome 2 Da Family” to “This Fucking Place.”\u003c/p>\n\u003cfigure id=\"attachment_12168839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg\" alt=\"Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009. \u003ccite>(Andy Kropa/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re looking for the TMZ highlight reel, it’s easy to find. Visiting hours bring drop-ins from Kanye, Diddy and Drake, the last of whom apparently confirms the fact that \u003ca href=\"http://www.eonline.com/news/798827/lil-wayne-breaks-down-the-moment-he-found-out-drake-slept-with-his-girlfriend\" target=\"_blank\" rel=\"noopener\">he used to sleep with Wayne’s then-current girlfriend\u003c/a>. (That entry is titled “Bad Day.”)\u003c/p>\n\u003cp>Here’s the rub, though: If you’re in for the long haul with Weezy — and you should be — you’ll soon notice that the gemstones, the tiny yet genuine flashes of epiphany, are buried so far beneath the mundanities that they almost give you whiplash when discovered.\u003c/p>\n\u003cp>Truly, if there’s one thing that makes plain exactly how little editorial polish this book received, it’s not his vocabulary or syntax. It’s the fact that this two-time BET Lyricist of the Year’s honest accounts of overwhelming sadness, regret and anger are wedged between sentences like: “Doritos burrito time! Charlie showed me how to add a beef jerky stick in my shit a couple of days ago. Shit is great!” Which is, of course, how real life goes. Deep feelings don’t always wait for that perfectly timed 15-minute mark. Sometimes they arrive around lunch.\u003c/p>\n\u003cfigure id=\"attachment_12167824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg\" alt=\"He clearly didn't stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1920x1348.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">He clearly didn’t stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be clear: this book is repetitive, and it’s sometimes a slog. Things that make Weezy happy are generally punctuated by a “Yeah!” while bad things get a “Damn!” Sometimes there are several of each in one paragraph. Facts you will know when you finish this book include an exhaustive inventory of foods Lil Wayne consumed during his time behind bars (coffee with lots of sugar, Cup o’ Noodles, chicken and rice, burritos with either Doritos or Ruffles in them); exercises Lil Wayne did (triceps, obliques and back, usually, if he goes to yard; push-ups later in his cell before bed); and TV shows and movies Lil Wayne watched (a lot of sports, loves the Red Sox, hates the Yankees, he thought \u003cem>Shutter Island\u003c/em> was cool, he’s a \u003cem>big\u003c/em> fan of \u003cem>Martin\u003c/em>, and he’s down for \u003cem>American Idol\u003c/em> and\u003cem> Dancing With the Stars\u003c/em>, though that last one mainly because Erin Andrews is hot). Nearly every entry concludes “Push-ups, prayer, ESPN, sleep.”\u003c/p>\n\u003cfigure id=\"attachment_12168831\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168831\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg\" alt=\"Lil Wayne before a performance in Las Vegas in September 2015.\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg 871w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne before a performance in Las Vegas in September 2015. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But every 15 pages or so, you also get something like this:\u003c/p>\n\u003cblockquote>\u003cp>This letter that I got from a church made me think a lot. They were making some real good points about how if I’m going to be rapping, I should be rapping for the Lord ‘cause that’s the reason why I’m here. I didn’t really know how to take that. Did they mean the reason for me being here on Earth or in prison? Regardless of the point that they were trying to make, it really did have me considering that maybe I am going down the wrong road.\u003c/p>\n\u003cp>It’s not like I thought I should stop rapping or no shit like that, but more if I was rapping for the Lord, I’d probably be the coldest nigga on the planet. I was looking at it like everything that I do already gets followed, so if I fucked around and did that, I would literally change the world. It would be way bigger than having a million mothafuckas walking around with tattoos every-damn-where with dreadlocks or saying shit like “bling-bling.” I would truly have the power of having pop culture turn to God. I would have straight killers in church every Sunday.\u003c/p>\n\u003cp>Man, I really got lost in those thoughts listening to Lauryn Hill and dozed off. That’s when God spoke to me in my sleep and told me to stop tripping. That’s not my calling…yet, that is…’cause if it was, those types of thoughts would be popping in my head instead of “I will merk you,” “I will shine on you,” and “I’m going to fuck that bitch.” It was a cool thought though… but it was just a thought.\u003c/p>\u003c/blockquote>\n\u003cp>Classic Lil Wayne: He knows better than anyone the greatness of which he’s capable; he’d just generally prefer to ignore it.\u003c/p>\n\u003cfigure id=\"attachment_12168829\" class=\"wp-caption aligncenter\" style=\"max-width: 519px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168829\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg\" alt=\"Lil Wayne performs in Houston on Aug. 13, 2016.\" width=\"519\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg 519w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg 886w\" sizes=\"(max-width: 519px) 100vw, 519px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs in Houston on Aug. 13, 2016. \u003ccite>( Rick Kern/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tempting to blame his \u003ca href=\"http://www.thedailybeast.com/articles/2016/06/18/the-cocktail-that-s-killing-lil-wayne.html\" target=\"_blank\" rel=\"noopener\">well-documented codeine addiction\u003c/a> for, well, a lot of things. But if you’ve been following the man’s output, it’s undeniable that in the releases since his career-defining \u003cem>Tha Carter III\u003c/em>, he’s become that gifted kid you want to send home from school with a note: \u003cem>Not quite working up to potential\u003c/em>. (Worth adding here, perhaps, that he actually was an honors student at his magnet high school in New Orleans until the age of 14, when he dropped out to focus on music.)\u003c/p>\n\u003cp>Which is part of why, for Lil Wayne fans, the prospect of his rapping skillfully, intelligently and introspectively again — even sorrowfully, as he does on “Mad,” from Solange’s new record — feels like the sun emerging from behind the clouds. As Micah Peters recently put it in a \u003ca href=\"https://theringer.com/in-praise-of-lil-waynes-r-b-guest-verses-b18eee17a041#.6fhay7oiu\" target=\"_blank\" rel=\"noopener\">Ringer piece praising Wayne’s guest verses\u003c/a>, “it’s not that he only can rap about weed and cunnilingus; it’s just that he has to remember to \u003cem>not\u003c/em> rap about those things.” When he tries even a little, he can make people cry.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZI_zlkGN46Y\u003c/p>\n\u003cp>Other moments of self-reflection arrive with a less-defined lightbulb. He spends a lot of time on the phone with his kids’ mothers; he feels awful that he’s not there for birthdays. He eats Oreos and wishes he was high. He answers fan mail. He gets a job as a suicide prevention aide, then quits after a few shifts, noting vaguely how unsettling it was to be that close to suicide — a sentiment that takes on new weight in light of that verse on “Mad,” in which he raps about his own early suicide attempt. He records a verse for Drake’s “Light Up” over the phone. He gets an mp3 player taken away from him; he reads Anthony Kiedis’ autobiography. He convinces his girl to come for a visitation not wearing any underwear, just so he can sneak a look. Security catches her and makes her put boxers on.\u003c/p>\n\u003cp>By the time we get to the exuberant last entry — titled, helpfully, “Last Day” — we get a clearly enunciated Moral of the Story.\u003c/p>\n\u003cp>“Jail has changed me forever,” he writes. “The greatest positive that I take away from this bullshit is that I was able to tap into a depth of creativity that I never knew was in me. I’ve always thought I needed things like being high with my niggas, a Buggati, a dope ass crib, or some big booty bitches to be creative. But once all that was taken away from me, my creativity was put to the ultimate test. And I passed that shit like a mothafucka! I’ve never felt more creative in my life!”\u003c/p>\n\u003cfigure id=\"attachment_12168818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg\" alt=\"Lil Wayne sings 'Take Me Out to the Ball Game' during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne sings ‘Take Me Out to the Ball Game’ during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, we know that in the nearly six years since Wayne’s release, that has \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://pitchfork.com/news/68015-lil-wayne-tweets-hes-defenseless-and-mentally-defeated-artists-respond/\" target=\"_blank\" rel=\"noopener\">rarely seemed\u003c/a> to \u003ca href=\"http://www.nydailynews.com/entertainment/music/lil-wayne-recovers-seizure-attention-lean-resurfaces-article-1.2708471\" target=\"_blank\" rel=\"noopener\">be the case\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/LilTunechi/status/771982753717891072\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace doesn’t come easy to Dwayne Michael Carter Jr. He sounds lonely a lot — distrustful of other people, and also loathe to be left alone with his thoughts. (As he laments on “Mad”: “It’s hard when you only got fans around and no fam around, and if they are, then their hands are out…”) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But if this book provides a window into anything — between the food lists and the push-ups and the damns and the yeahs — it’s a glimpse at a person learning to nurture a quiet resilience in the face of boredom, which is to say in the face of himself.\u003c/span>\u003c/p>\n\u003cp>Does that count as rehabilitation? Probably depends on your view of prison. (How about if it lasts 18 years instead of eight months?) Regardless, \u003ci>Gone ‘Til November\u003c/i> makes clear exactly where Weezy’s demons lie. And also this: he’s not going down without a fight.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>[\u003cstrong>Ed. note\u003c/strong>: Lil Wayne’s recollections include sex, drugs and profanity; we present them here uncensored. Reader be advised.]\u003c/em>\u003c/p>\n\u003cp>If you were to line up every famous piece of writing penned while its author was incarcerated, it would make for one vast and varied bookshelf — from the great Nelson Mandela’s autobiography \u003cem>Conversations With Myself\u003c/em>, written during his 27 years spent in prison, to the beginnings of Adolf Hitler’s \u003cem>Mein Kampf\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12167808\" class=\"wp-caption alignright\" style=\"max-width: 432px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167808\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg\" alt=\"'Gone 'til November,' by Lil Tunechi himself. \" width=\"432\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-432x600.jpg 432w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2-400x555.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/book-venture2.jpg 525w\" sizes=\"(max-width: 432px) 100vw, 432px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Gone ’til November,’ by Lil Tunechi himself.\u003c/figcaption>\u003c/figure>\n\u003cp>Suffice it to say, the free time, loss of self-determination, forced reflection, and flat-out boredom that come with incarceration have long been recognized as a petri dish for the written word.\u003c/p>\n\u003cp>Exactly where in this literary canon will history place \u003cem>Gone ‘Til November\u003c/em>, Lil Wayne’s newly published journal from his eight months behind bars? Only time will tell. What I can tell you now, having recently finished the 176-page book (out Oct. 11; Penguin/Random House), is that prison sounds truly, mundanely and consistently miserable — even if you’re a celebrity worth $150 million.\u003c/p>\n\u003cp>Dwayne Michael Carter Jr., 34, is best known to the casual Top 40 fan as the raspy, cough syrup-coated drawl behind songs like 2008’s inescapable “Lollipop.” But to people who spend their days concerned with these sorts of rankings, he’s also one of the greatest rappers of all time; the \u003cem>Washington Post\u003c/em> once called him a “nonsensical genius,” while Kendrick Lamar, hip-hop’s current golden child, continues to \u003ca href=\"http://www.bet.com/music/2016/09/09/watch-kendrick-lamar-literally-beg-lil-wayne-not-to-retire.html\" target=\"_blank\" rel=\"noopener\">pledge his allegiance\u003c/a>. Wayne is scattershot at times, sure — but vital to the fabric of modern rap music nonetheless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is part of why it made for such screaming headlines when Lil Wayne, aka Weezy, was convicted of possession of a firearm in 2009, and in March 2010 began serving a year at Rikers Island. That sentence was reduced to eight months, over the course of which the rapper apparently journaled nearly every single day.\u003c/p>\n\u003cp>The result is a simple (and, as someone in his camp clearly realized, easily marketable) diary: Each entry is titled with that day’s overarching mood or sentiment, from “Day 1 Up In This Bitch!” and “Welcome 2 Da Family” to “This Fucking Place.”\u003c/p>\n\u003cfigure id=\"attachment_12168839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg\" alt=\"Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009.\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-94469537.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne arrives in court for weapon charges at the New York State Supreme Court in December 2009. \u003ccite>(Andy Kropa/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re looking for the TMZ highlight reel, it’s easy to find. Visiting hours bring drop-ins from Kanye, Diddy and Drake, the last of whom apparently confirms the fact that \u003ca href=\"http://www.eonline.com/news/798827/lil-wayne-breaks-down-the-moment-he-found-out-drake-slept-with-his-girlfriend\" target=\"_blank\" rel=\"noopener\">he used to sleep with Wayne’s then-current girlfriend\u003c/a>. (That entry is titled “Bad Day.”)\u003c/p>\n\u003cp>Here’s the rub, though: If you’re in for the long haul with Weezy — and you should be — you’ll soon notice that the gemstones, the tiny yet genuine flashes of epiphany, are buried so far beneath the mundanities that they almost give you whiplash when discovered.\u003c/p>\n\u003cp>Truly, if there’s one thing that makes plain exactly how little editorial polish this book received, it’s not his vocabulary or syntax. It’s the fact that this two-time BET Lyricist of the Year’s honest accounts of overwhelming sadness, regret and anger are wedged between sentences like: “Doritos burrito time! Charlie showed me how to add a beef jerky stick in my shit a couple of days ago. Shit is great!” Which is, of course, how real life goes. Deep feelings don’t always wait for that perfectly timed 15-minute mark. Sometimes they arrive around lunch.\u003c/p>\n\u003cfigure id=\"attachment_12167824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12167824\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg\" alt=\"He clearly didn't stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-400x281.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1180x829.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-1920x1348.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-117479401-960x674.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">He clearly didn’t stay mad for long: Lil Wayne performed with buddy Drake at BET Awards in 201, roughly six months after Wayne got out of Rikers. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be clear: this book is repetitive, and it’s sometimes a slog. Things that make Weezy happy are generally punctuated by a “Yeah!” while bad things get a “Damn!” Sometimes there are several of each in one paragraph. Facts you will know when you finish this book include an exhaustive inventory of foods Lil Wayne consumed during his time behind bars (coffee with lots of sugar, Cup o’ Noodles, chicken and rice, burritos with either Doritos or Ruffles in them); exercises Lil Wayne did (triceps, obliques and back, usually, if he goes to yard; push-ups later in his cell before bed); and TV shows and movies Lil Wayne watched (a lot of sports, loves the Red Sox, hates the Yankees, he thought \u003cem>Shutter Island\u003c/em> was cool, he’s a \u003cem>big\u003c/em> fan of \u003cem>Martin\u003c/em>, and he’s down for \u003cem>American Idol\u003c/em> and\u003cem> Dancing With the Stars\u003c/em>, though that last one mainly because Erin Andrews is hot). Nearly every entry concludes “Push-ups, prayer, ESPN, sleep.”\u003c/p>\n\u003cfigure id=\"attachment_12168831\" class=\"wp-caption aligncenter\" style=\"max-width: 510px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168831\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg\" alt=\"Lil Wayne before a performance in Las Vegas in September 2015.\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-510x600.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-400x470.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904-768x903.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-487188904.jpg 871w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne before a performance in Las Vegas in September 2015. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But every 15 pages or so, you also get something like this:\u003c/p>\n\u003cblockquote>\u003cp>This letter that I got from a church made me think a lot. They were making some real good points about how if I’m going to be rapping, I should be rapping for the Lord ‘cause that’s the reason why I’m here. I didn’t really know how to take that. Did they mean the reason for me being here on Earth or in prison? Regardless of the point that they were trying to make, it really did have me considering that maybe I am going down the wrong road.\u003c/p>\n\u003cp>It’s not like I thought I should stop rapping or no shit like that, but more if I was rapping for the Lord, I’d probably be the coldest nigga on the planet. I was looking at it like everything that I do already gets followed, so if I fucked around and did that, I would literally change the world. It would be way bigger than having a million mothafuckas walking around with tattoos every-damn-where with dreadlocks or saying shit like “bling-bling.” I would truly have the power of having pop culture turn to God. I would have straight killers in church every Sunday.\u003c/p>\n\u003cp>Man, I really got lost in those thoughts listening to Lauryn Hill and dozed off. That’s when God spoke to me in my sleep and told me to stop tripping. That’s not my calling…yet, that is…’cause if it was, those types of thoughts would be popping in my head instead of “I will merk you,” “I will shine on you,” and “I’m going to fuck that bitch.” It was a cool thought though… but it was just a thought.\u003c/p>\u003c/blockquote>\n\u003cp>Classic Lil Wayne: He knows better than anyone the greatness of which he’s capable; he’d just generally prefer to ignore it.\u003c/p>\n\u003cfigure id=\"attachment_12168829\" class=\"wp-caption aligncenter\" style=\"max-width: 519px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168829\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg\" alt=\"Lil Wayne performs in Houston on Aug. 13, 2016.\" width=\"519\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-519x600.jpg 519w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-400x462.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-589469940.jpg 886w\" sizes=\"(max-width: 519px) 100vw, 519px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs in Houston on Aug. 13, 2016. \u003ccite>( Rick Kern/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s tempting to blame his \u003ca href=\"http://www.thedailybeast.com/articles/2016/06/18/the-cocktail-that-s-killing-lil-wayne.html\" target=\"_blank\" rel=\"noopener\">well-documented codeine addiction\u003c/a> for, well, a lot of things. But if you’ve been following the man’s output, it’s undeniable that in the releases since his career-defining \u003cem>Tha Carter III\u003c/em>, he’s become that gifted kid you want to send home from school with a note: \u003cem>Not quite working up to potential\u003c/em>. (Worth adding here, perhaps, that he actually was an honors student at his magnet high school in New Orleans until the age of 14, when he dropped out to focus on music.)\u003c/p>\n\u003cp>Which is part of why, for Lil Wayne fans, the prospect of his rapping skillfully, intelligently and introspectively again — even sorrowfully, as he does on “Mad,” from Solange’s new record — feels like the sun emerging from behind the clouds. As Micah Peters recently put it in a \u003ca href=\"https://theringer.com/in-praise-of-lil-waynes-r-b-guest-verses-b18eee17a041#.6fhay7oiu\" target=\"_blank\" rel=\"noopener\">Ringer piece praising Wayne’s guest verses\u003c/a>, “it’s not that he only can rap about weed and cunnilingus; it’s just that he has to remember to \u003cem>not\u003c/em> rap about those things.” When he tries even a little, he can make people cry.\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/ZI_zlkGN46Y'\n title='//www.youtube.com/embed/ZI_zlkGN46Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Other moments of self-reflection arrive with a less-defined lightbulb. He spends a lot of time on the phone with his kids’ mothers; he feels awful that he’s not there for birthdays. He eats Oreos and wishes he was high. He answers fan mail. He gets a job as a suicide prevention aide, then quits after a few shifts, noting vaguely how unsettling it was to be that close to suicide — a sentiment that takes on new weight in light of that verse on “Mad,” in which he raps about his own early suicide attempt. He records a verse for Drake’s “Light Up” over the phone. He gets an mp3 player taken away from him; he reads Anthony Kiedis’ autobiography. He convinces his girl to come for a visitation not wearing any underwear, just so he can sneak a look. Security catches her and makes her put boxers on.\u003c/p>\n\u003cp>By the time we get to the exuberant last entry — titled, helpfully, “Last Day” — we get a clearly enunciated Moral of the Story.\u003c/p>\n\u003cp>“Jail has changed me forever,” he writes. “The greatest positive that I take away from this bullshit is that I was able to tap into a depth of creativity that I never knew was in me. I’ve always thought I needed things like being high with my niggas, a Buggati, a dope ass crib, or some big booty bitches to be creative. But once all that was taken away from me, my creativity was put to the ultimate test. And I passed that shit like a mothafucka! I’ve never felt more creative in my life!”\u003c/p>\n\u003cfigure id=\"attachment_12168818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12168818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg\" alt=\"Lil Wayne sings 'Take Me Out to the Ball Game' during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/GettyImages-154538035.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lil Wayne sings ‘Take Me Out to the Ball Game’ during the seventh inning of Game Six of the 2012 NLCS Championship in San Francisco. \u003ccite>(Ezra Shaw/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Unfortunately, we know that in the nearly six years since Wayne’s release, that has \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://pitchfork.com/news/68015-lil-wayne-tweets-hes-defenseless-and-mentally-defeated-artists-respond/\" target=\"_blank\" rel=\"noopener\">rarely seemed\u003c/a> to \u003ca href=\"http://www.nydailynews.com/entertainment/music/lil-wayne-recovers-seizure-attention-lean-resurfaces-article-1.2708471\" target=\"_blank\" rel=\"noopener\">be the case\u003c/a>\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace doesn’t come easy to Dwayne Michael Carter Jr. He sounds lonely a lot — distrustful of other people, and also loathe to be left alone with his thoughts. (As he laments on “Mad”: “It’s hard when you only got fans around and no fam around, and if they are, then their hands are out…”) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But if this book provides a window into anything — between the food lists and the push-ups and the damns and the yeahs — it’s a glimpse at a person learning to nurture a quiet resilience in the face of boredom, which is to say in the face of himself.\u003c/span>\u003c/p>\n\u003cp>Does that count as rehabilitation? Probably depends on your view of prison. (How about if it lasts 18 years instead of eight months?) Regardless, \u003ci>Gone ‘Til November\u003c/i> makes clear exactly where Weezy’s demons lie. And also this: he’s not going down without a fight.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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