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"content": "\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6fAQlZECJ4\u003c/p>\n\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=83wOmk9yLPs\u003c/p>\n\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \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 noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xnJBBsTO2OQ\u003c/p>\n\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'",
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"description": "The Berkeley rapper talks about white kids at his shows, his dad's time in jail, and the hopeful forces behind his excellent new album '1993.'",
"title": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan | KQED",
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"headline": "Meet 23-Year-Old Caleborate, the East Bay's Next Rap Titan",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Caleborate’s already been recognized at least 20 times today, here on Telegraph Avenue. It’s become a running joke: as soon as he starts telling me something important, the short, eloquent rapper gets interrupted, usually by girls, and asked for a selfie. When he makes the turn to Dwight Way, bumping into a kid in glasses, a striped shirt and backpack, he offers a polite apology—”Oh, sorry, man.”\u003c/p>\n\u003cp>“Wait, wait!” says the kid, popping his earbuds out and fishing for his phone. He holds up the screen to show what he’d been listening to, at that very moment: Caleborate’s own album \u003cem>\u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">1993\u003c/a>\u003c/em>—one of the best, if not \u003cem>the\u003c/em> best, Bay Area rap albums of the year. \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/J6fAQlZECJ4'\n title='//www.youtube.com/embed/J6fAQlZECJ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The album’s only been out for three days, but judging by the hordes of fans on the street here in Berkeley, you’d think it was already platinum. The two share a laugh and \u003ca href=\"https://twitter.com/jonahhhhz/status/771168122283761664\" target=\"_blank\" rel=\"noopener noreferrer\">a requisite photo\u003c/a>, and the kid echoes just about everyone else who’s stopped the 23-year-old rapper today to give ups to \u003cem>1993\u003c/em>. \u003c/p>\n\u003cp>Fame in the East Bay is a strange ladder, with different rungs. For every Metallica, Counting Crows or Green Day who made it to the top, there are a hundred tiers in Caleborate’s field—Mystik Journeymen or Hieroglyphics or Living Legends, rap artists who once made a name for themselves by selling tapes on this very street. \u003c/p>\n\u003cfigure id=\"attachment_12075494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg\" alt=\"Caleborate with fans at Sproul Plaza, UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Girls_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with fans at Sproul Plaza, UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Caleborate stands in front of Rasputin Music, dreaming of the day the store displays his album art in its sidewalk gallery (“that’s when I’ll know I’ve made it,” he says), I notice a tall figure in mottled dreadlocks and a goatee walking toward us. He’s fiftysomething, pudgy, wearing a Gram Parsons T-shirt and carrying a tote bag.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I do a double-take, and then it hits me: it’s Adam Duritz, the \u003ca href=\"https://en.wikipedia.org/wiki/Adam_Duritz\" target=\"_blank\" rel=\"noopener noreferrer\">lead singer\u003c/a> for Counting Crows.\u003c/p>\n\u003cp>I turn and watch Duritz walk Telegraph, past hordes of uninterested young students, down the block and around the corner. Nobody recognizes him. \u003cem>Nobody\u003c/em>. Meanwhile, yet another fan stops to take a photo with Caleborate, this young, hungry rapper from Berkeley who hasn’t made it yet.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If Caleborate set out to make an album designed to appeal to older rap fans raised on Eric B. & Rakim and A Tribe Called Quest, he certainly succeeded: \u003cem>1993\u003c/em> hits on all the pleasure centers from the golden age of hip-hop. But that’s not what he intended. “I made \u003cem>1993\u003c/em> to speak for and to people in their twenties everywhere,” he says. “People need that confirmation that someone else is in these shoes too.”\u003c/p>\n\u003cp>So, with millennial subject matter and a ’90s aesthetic—soulful samples, boom-bap drums—songs like “For Sallie Mae” and “August 28” speak to the reality of being young, broke, and ambitious in the Bay Area, a reality Caleborate knows all too well since moving here five years ago.\u003c/p>\n\u003cfigure id=\"attachment_12075503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg\" alt=\"Caleborate.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.WashedoutWhite-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in 1993, the kid known as Caleb Parker grew up in South Side Sacramento. At age 10, he immersed himself in Kanye West’s \u003cem>The College Dropout\u003c/em>, particularly the song “Last Call,” which inspired him to pick up the alto sax. (“Allure,” from Jay-Z’s \u003cem>The Black Album\u003c/em>, was another song on heavy rotation.)\u003c/p>\n\u003cp>He eventually went to Sheldon High, where he played basketball, did some theater, and started writing music in junior year—an anomaly in a mostly white school, where students often referred to him as “that black kid that raps” (he still uses “TBKTR” as his publishing acronym). In 2011, his dad went through a divorce, moved to Atlanta, and suddenly left his son to live with his brother in Berkeley: “One bag, no money, and a couch where I lay,” as he raps on \u003cem>1993\u003c/em>’s “August 28.”\u003c/p>\n\u003cp>There are passing mentions on \u003cem>1993\u003c/em> of Caleborate’s dad’s time in jail, and when I ask about it, his normally upbeat demeanor turns pensive. “I don’t think it was mentally healthy for my dad to leave California and go to Atlanta,” he says, softly. “When you’re mid-50s and you’re away from your kids, your grandchild was born and you’re not there for that, your brother passes and you’re not there for that—you’re not there for any of these things, and you’re alone? Me and my dad kinda share the same mind, so I know how potentially dangerous being alone and having that kind of idle time can be.”\u003c/p>\n\u003cfigure id=\"attachment_12075500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.UCB_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Disorderly conduct was the charge against his dad; it involved getting upset with some kids in the neighborhood who were doing something they shouldn’t have, but that’s all Caleborate can really say. He didn’t even know where his dad had disappeared to, until he and his family turned to Google and found his dad’s name in the county jail records. It was a shock to the son who spent every single day with his dad until age 18, talking about everything, receiving guidance.\u003c/p>\n\u003cp>“I worry and I’m concerned for his safety,” says Caleborate, who now stays with his aunt in Berkeley. “But then at a certain point, I just washed my hands of the situation. And I think that’s the scariest part of all. I love my dad and I miss him, but I’m worried that maybe I’m OK now, you know what I mean? That’s what scares me. That I could say, ‘I’ll take it from here.’”\u003c/p>\n\u003cp>His dad was in jail for over a year. Caleborate kept busy writing and recording an album, \u003cem>Hella Good\u003c/em>. He didn’t tell his dad about it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Hella Good\u003c/em> was promoted in a distinctly 21st-century fashion: through rampant, repeated commenting on YouTube videos by artists to whom Caleborate’s own music owes a debt, like Chance the Rapper, Childish Gambino and J. Cole. His pitch was simple.\u003c/p>\n\u003cblockquote>\u003cp>1.I’m a 20 year old rapper, student and graphic designer\u003cbr>\n2.I’m going to an Art University studying to be news broadcaster, but music is my main dream.\u003cbr>\n3.I work on campus at my school as well as off campus assisting and eat ramen for dinner, I really work hard AND chase my dream at the same time!\u003cbr>\n4.I have two albums out now and I’m working on another album all on my own dollar!\u003cbr>\n5.I REALLY hate spamming, but it’s all I got. Give me a (“THUMBS UP”) so others can notice me. THANK YOU! 🙂\u003c/p>\u003c/blockquote>\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/83wOmk9yLPs'\n title='//www.youtube.com/embed/83wOmk9yLPs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.reddit.com/r/hiphopheads/comments/293frq/hhh_meet_caleborate_the_kid_who_youtube_spammed/\" target=\"_blank\" rel=\"noopener noreferrer\">The tactic worked\u003c/a>. (Most of the replies took the form of “I wanted to hate you for spamming, but can’t lie, your shit is tight.”) He made enough of a splash to attract fellow East Bay hip-hop talents like G-Eazy, who last year appeared on the single “\u003ca href=\"https://soundcloud.com/caleborate/want-it-all-ft-g-eazy-prod-cal-a\" target=\"_blank\" rel=\"noopener noreferrer\">Want it All\u003c/a>” free of charge; to go on a west coast tour with P-Lo and Kehlani’s DJ Noodles; and to take a hiatus from attending Ex’pression College to focus on his next album.\u003c/p>\n\u003cp>The Friday before \u003cem>1993\u003c/em>’s release, Caleborate performed in Lower Sproul Plaza at UC Berkeley to over 1,000 people, warming the stage for headliner Kehlani. Though technical issues interrupted the set, he showed skilled ease on the mic (he staunchly refuses to rap over his own vocals), and covered for the set’s glitches with his natural charm, shouting out popular spots on Telegraph between songs.\u003c/p>\n\u003cfigure id=\"attachment_12075504\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg\" alt=\"Caleborate performs at UC Berkeley.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/CalebatUCBLight.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at UC Berkeley. \u003ccite>(Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Likewise, \u003cem>1993\u003c/em> is more polished than \u003cem>Hella Good\u003c/em>, and more focused on every level. Its production, by P-Lo, Julia Lewis, Mikos Da Gawd, Wax Roof, Ian McKee, HBK’s Kuya Beats, Cal-A and more, is a smooth, satisfying IV drip of memorable beats and samples. And Caleborate’s lyrics, in particular, operate like a Jenga puzzle, with key words and phrases holding up entire lines later in the song.\u003c/p>\n\u003cp>And though his natural nasal tone is initially reminiscent of Chance or Kendrick, he’s grown into a voice and flow that’s indisputably his own, used to amplify issues like gentrification and displacement—issues that have \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 noreferrer\">decimated the black population\u003c/a> in the Bay Area (and have priced out fellow rap artists \u003ca href=\"https://ww2.kqed.org/pop/2016/06/29/on-zion-is-tech-a-housing-crisis-turns-personal/\" target=\"_blank\" rel=\"noopener noreferrer\">like Zion-I\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/xnJBBsTO2OQ'\n title='//www.youtube.com/embed/xnJBBsTO2OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But like Lil B, the most positive rapper in the Bay Area and perhaps the world, Caleborate crafts songs that always reach for a sense of hope. There’s a conspicuous lack of violence in \u003cem>1993\u003c/em>, for example, even though just this year Caleborate \u003ca href=\"http://www.sacbee.com/news/local/crime/article52832725.html\" target=\"_blank\" rel=\"noopener noreferrer\">lost a childhood friend\u003c/a>, Darien McLaurin, who was shot, Caleborate says, “over some gang shit in Sacramento.” On the day we walk around Berkeley, he and Kale, his DJ, repeatedly wrestle with the tragic and untimely death of Terrance McCrary, Jr.—a.k.a. T-Mack, the 22-year-old Berkeley High grad who was shot and killed last month.\u003c/p>\n\u003cp>That may explain Caleborate’s subtle reference to certain white rap fans in \u003cem>1993\u003c/em>’s “250 AM”: \u003c/p>\n\u003cblockquote>\u003cp>The hipsters all at the shows with the money and the clothes\u003cbr>\nand they all wanna say the N-word\u003cbr>\nOooooh, the truth hurts, don’t it?\u003cbr>\nMy friends die over shit you flauntin’\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_12075491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg\" alt=\"Caleborate, with no socks, as usual.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Ankles-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate, with no socks, as usual. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did a show with Vince Staples for Noise Pop, and I had this weird moment where I’m watching him perform ‘\u003ca href=\"https://www.youtube.com/watch?v=NJLfCBBcZAo\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Suede\u003c/a>,’ and I’m lookin’ in the crowd, and it’s like… not very many black people,” Caleborate says. “Everyone there, they all fit this hipster demographic: they kinda look like techies, they got thick mustaches and flannels, and you’re listening to these lines from ‘Blue Suede,’ and you’re like… does this even make sense? I don’t want you to be down because it looks cool and sounds cool. I want you to be down because you actually understand what it’s like in my shoes, or at least \u003cem>want\u003c/em> to understand it. Not just to wanna take the picture, or be in the crowd and say that you were doin’ some hood shit when my song came on, and then you go back to your regular life and that’s it.”\u003c/p>\n\u003cp>The UC Berkeley campanile cuts off Caleborate, loudly tolling its bells across campus, which gives him a moment to think. He looks up. “Just know that it’s real for us,” he says. “It’s not just a lyric in a song. It’s a moment that I have to live with for the rest of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Hiero Day is a \u003ca href=\"http://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">joyful celebration\u003c/a> of Oakland’s heart and soul, an annual block party that brings together younger artists like Rexx Life Raj, Elujay and Rocky Rivera with the old guard standbys of Souls of Mischief, Too Short, Paris and more. At this year’s fest, Caleborate has an early afternoon slot on a sunny side stage, but it doesn’t keep the crowd from losing their mind.\u003c/p>\n\u003cp>It’s a party setting. Caleborate sings “Consequences” (“I just wanna chill, smoke, drink an’ be cool”), points to his shoes when someone yells “Free the Ankle!” (wearing no socks has become his \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23freetheankle%20tbktr&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">hashtag trademark\u003c/a>), and, for the song “Saggin Par,” jumps off the stage and breaks through the metal barricades separating him from his crowd. The beat drops and bedlam ensues; a \u003ca href=\"https://www.instagram.com/p/BJ_apMPg9nb/\" target=\"_blank\" rel=\"noopener noreferrer\">pit forms\u003c/a>, Caleborate screams along with dozens of others in \u003ca href=\"https://www.instagram.com/p/BKCncQRgJtw/?taken-by=caleborate&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">body-slamming cathartic release\u003c/a>, and for a moment it actually feels like a punk show from the \u003cem>year\u003c/em> 1993. \u003c/p>\n\u003cfigure id=\"attachment_12075492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg\" alt=\"Caleborate with the crowd at Hiero Day 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12075492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Caleb.Crowd_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate with the crowd at Hiero Day 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, back on stage is Caleborate, the skinny bald kid who looks on the bright side. The kid who’s seen his dad go to jail, his friends killed, his peers suffocated under a mountain of debt, his city mutated by crippling changes, his culture co-opted by techies, and he starts talking about the one thing that keeps him afloat: having a dream.\u003c/p>\n\u003cp>“I appreciate y’all because y’all came out,” he says, wiping the sweat away. “We all blessed because we alive today, OK?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg\" alt=\"Sneaker.Break\" width=\"800\" height=\"81\" class=\"aligncenter size-full wp-image-12075306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-400x41.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Sneaker.Break_-768x78.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Caleborate’s new album ‘1993’ \u003ca href=\"https://soundcloud.com/caleborate/sets/1993a-1\" target=\"_blank\" rel=\"noopener noreferrer\">is out now\u003c/a>. For more, hit him up \u003ca href=\"https://www.instagram.com/caleborate/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>, or walk down Telegraph with no socks—you’ll run into him sooner or later.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "its-tupac-day-in-oakland-where-he-once-sued-the-police-for-10-million",
"title": "Remembering the Time Tupac Shakur Sued the Oakland Police for $10 Million",
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"content": "\u003cp>In honor of the late rapper’s birthday, Oakland has \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">proclaimed June 16 to be Tupac Shakur Day\u003c/a>—a nice, overdue gesture to the years Shakur spent living in Oakland. But the text of the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">official honor\u003c/a> is also missing a key part of Shakur’s history with the city.\u003c/p>\n\u003cp>Mayoral proclamations are usually forgotten after a few years. What’s \u003cem>not\u003c/em> likely to be forgotten is the Oakland Police Department’s jaywalking stop of Tupac Shakur in October 1991, which resulted in Shakur allegedly slammed to the ground and arrested.\u003c/p>\n\u003cp>That’s because in a rare early case of a rap artist suing the police, Shakur subsequently brought a $10 million civil suit against the OPD for their actions—and in an even rarer conclusion, the suit was settled for a reported $42,000.\u003c/p>\n\u003cfigure id=\"attachment_11696582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg\" alt=\"The intersection of 17th and Broadway, where Tupac's incident with police is said to have happened.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-1180x584.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intersection of 17th and Broadway, where Tupac’s incident with police is said to have happened.\u003c/figcaption>\u003c/figure>\n\u003cp>You can read the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">full proclamation\u003c/a>, which recounts Shakur’s involvement with Oakland hip-hop group Digital Underground, his own solo album sales, and his hit songs. But while Oakland’s police department seems to constantly be \u003ca href=\"http://www.eastbayexpress.com/oakland/badge-of-dishonor-top-oakland-police-department-officials-looked-away-as-east-bay-cops-sexually-exploited-and-trafficked-a-teenagerdepartmen/Content?oid=4832543\" target=\"_blank\" rel=\"noopener noreferrer\">in the midst of another scandal\u003c/a>, an additional stanza would seem appropriate today:\u003c/p>\n\u003cp>\u003cem>…and WHEREAS, in our ongoing efforts to better our police force, we remember the ways in which Shakur held our department to a higher standard…\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One can dream.\u003c/p>\n\u003cp>In 1991, Shakur was walking at what’s long been rumored as the intersection of 17th and Broadway in downtown Oakland when he was stopped by officers for jaywalking. What happened next was recounted by Shakur in \u003ca href=\"http://www.daveyd.com/interview2pacrare.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with hip-hop journalist Davey D\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Davey D\u003c/strong>: Can talk about your recent encounter with police brutality at the hands of the Oakland PD?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re letting the law do its job. It’s making its way through the court system. We filed a claim.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Recount the incident for those who don’t know.\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: For everyone who doesn’t know, I, an innocent young black male, was walking down the streets of Oakland minding my own business and the police department saw fit for me to be trained or snapped back into my place. So they asked for my ID and sweated me about my name because my name is “Tupac.” My final words to them was “fuck y’all.” Next thing I know I was in a chokehold passing out with cuffs on, headed for jail for resisting arrest. Yes, you heard right—I was arrested for resisting arrest.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Where is all this now?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re in the midst of having a $10 million dollar lawsuit against the Oakland Police Department. If I win and get the money, then the Oakland Police department is going to buy a Boys Home, me a house, my family a house, and a ‘Stop Police Brutality Center’ and other little odd things like that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11696580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg\" alt=\"Shakur, in the booklet for 'All Eyez on Me.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shakur, in the booklet for ‘All Eyez on Me.’ \u003ccite>(Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur, the son of \u003ca href=\"http://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener noreferrer\">the late Black Panther Afeni Shakur\u003c/a>, was raised with the importance of community building. His goal to build a boys’ home and center for police brutality is even more laudable considering the rapper was without any secure income: his debut album \u003cem>2Pacalypse Now\u003c/em> wouldn’t be released for another month. But Shakur wanted to give back to Oakland, claiming in interviews after moving to L.A. that “I give all my love to Oakland, if I’ma claim somewhere, I’ma claim Oakland… everything I do, you can give it to Oakland.”\u003c/p>\n\u003cp>For more historical context, consider that in 1991, the Rodney King jury had yet to acquit four officers involved in the infamous LAPD beating, and Rodney King had yet to be awarded any damages. As for a young black man suing the police department for what most black residents of Oakland at the time could testify was a routine occurrence? In 1991, that was a brazen move; to Shakur, however, it was simply asserting his civil rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yCYT3T3UBdw\u003c/p>\n\u003cp>And especially before smartphone cameras provided quick, reliable evidence in police brutality cases, a $42,000 settlement to a young rapper—whose music would be the subject of \u003ca href=\"http://www.nytimes.com/1996/09/14/arts/tupac-shakur-25-rap-performer-who-personified-violence-dies.html?pagewanted=2\" target=\"_blank\" rel=\"noopener noreferrer\">an attempted ban by the vice president of the United States\u003c/a> for its criticism of police—was groundbreaking.\u003c/p>\n\u003cp>So, happy Tupac Shakur Day. But while you’re playing “\u003ca href=\"https://www.youtube.com/watch?v=FWOsbGP5Ox4\" target=\"_blank\" rel=\"noopener noreferrer\">California Love\u003c/a>” to celebrate, remember the determined young black man who kept pushing for a better world, kept fighting for his rights, and reminded us all to \u003ca href=\"https://www.youtube.com/watch?v=XW--IGAfeas\" target=\"_blank\" rel=\"noopener noreferrer\">keep our heads up\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Watch one of Shakur’s greatest interview segments below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HuBWjhEax3g\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the late rapper’s birthday, Oakland has \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">proclaimed June 16 to be Tupac Shakur Day\u003c/a>—a nice, overdue gesture to the years Shakur spent living in Oakland. But the text of the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">official honor\u003c/a> is also missing a key part of Shakur’s history with the city.\u003c/p>\n\u003cp>Mayoral proclamations are usually forgotten after a few years. What’s \u003cem>not\u003c/em> likely to be forgotten is the Oakland Police Department’s jaywalking stop of Tupac Shakur in October 1991, which resulted in Shakur allegedly slammed to the ground and arrested.\u003c/p>\n\u003cp>That’s because in a rare early case of a rap artist suing the police, Shakur subsequently brought a $10 million civil suit against the OPD for their actions—and in an even rarer conclusion, the suit was settled for a reported $42,000.\u003c/p>\n\u003cfigure id=\"attachment_11696582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696582\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg\" alt=\"The intersection of 17th and Broadway, where Tupac's incident with police is said to have happened.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-1180x584.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/bdwy17th-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The intersection of 17th and Broadway, where Tupac’s incident with police is said to have happened.\u003c/figcaption>\u003c/figure>\n\u003cp>You can read the \u003ca href=\"http://www.okayplayer.com/news/tupac-shakur-day-oakland-june-16.html\" target=\"_blank\" rel=\"noopener noreferrer\">full proclamation\u003c/a>, which recounts Shakur’s involvement with Oakland hip-hop group Digital Underground, his own solo album sales, and his hit songs. But while Oakland’s police department seems to constantly be \u003ca href=\"http://www.eastbayexpress.com/oakland/badge-of-dishonor-top-oakland-police-department-officials-looked-away-as-east-bay-cops-sexually-exploited-and-trafficked-a-teenagerdepartmen/Content?oid=4832543\" target=\"_blank\" rel=\"noopener noreferrer\">in the midst of another scandal\u003c/a>, an additional stanza would seem appropriate today:\u003c/p>\n\u003cp>\u003cem>…and WHEREAS, in our ongoing efforts to better our police force, we remember the ways in which Shakur held our department to a higher standard…\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One can dream.\u003c/p>\n\u003cp>In 1991, Shakur was walking at what’s long been rumored as the intersection of 17th and Broadway in downtown Oakland when he was stopped by officers for jaywalking. What happened next was recounted by Shakur in \u003ca href=\"http://www.daveyd.com/interview2pacrare.html\" target=\"_blank\" rel=\"noopener noreferrer\">an interview with hip-hop journalist Davey D\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\u003cstrong>Davey D\u003c/strong>: Can talk about your recent encounter with police brutality at the hands of the Oakland PD?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re letting the law do its job. It’s making its way through the court system. We filed a claim.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Recount the incident for those who don’t know.\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: For everyone who doesn’t know, I, an innocent young black male, was walking down the streets of Oakland minding my own business and the police department saw fit for me to be trained or snapped back into my place. So they asked for my ID and sweated me about my name because my name is “Tupac.” My final words to them was “fuck y’all.” Next thing I know I was in a chokehold passing out with cuffs on, headed for jail for resisting arrest. Yes, you heard right—I was arrested for resisting arrest.\u003c/p>\n\u003cp>\u003cstrong>Davey D\u003c/strong>: Where is all this now?\u003c/p>\n\u003cp>\u003cstrong>Tupac\u003c/strong>: We’re in the midst of having a $10 million dollar lawsuit against the Oakland Police Department. If I win and get the money, then the Oakland Police department is going to buy a Boys Home, me a house, my family a house, and a ‘Stop Police Brutality Center’ and other little odd things like that.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11696580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11696580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg\" alt=\"Shakur, in the booklet for 'All Eyez on Me.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2pacbooklet-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shakur, in the booklet for ‘All Eyez on Me.’ \u003ccite>(Interscope Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shakur, the son of \u003ca href=\"http://ww2.kqed.org/pop/2016/05/04/you-cant-kill-the-revolution-davey-d-on-tupacs-mother-afeni-shakur/\" target=\"_blank\" rel=\"noopener noreferrer\">the late Black Panther Afeni Shakur\u003c/a>, was raised with the importance of community building. His goal to build a boys’ home and center for police brutality is even more laudable considering the rapper was without any secure income: his debut album \u003cem>2Pacalypse Now\u003c/em> wouldn’t be released for another month. But Shakur wanted to give back to Oakland, claiming in interviews after moving to L.A. that “I give all my love to Oakland, if I’ma claim somewhere, I’ma claim Oakland… everything I do, you can give it to Oakland.”\u003c/p>\n\u003cp>For more historical context, consider that in 1991, the Rodney King jury had yet to acquit four officers involved in the infamous LAPD beating, and Rodney King had yet to be awarded any damages. As for a young black man suing the police department for what most black residents of Oakland at the time could testify was a routine occurrence? In 1991, that was a brazen move; to Shakur, however, it was simply asserting his civil rights.\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/yCYT3T3UBdw'\n title='//www.youtube.com/embed/yCYT3T3UBdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And especially before smartphone cameras provided quick, reliable evidence in police brutality cases, a $42,000 settlement to a young rapper—whose music would be the subject of \u003ca href=\"http://www.nytimes.com/1996/09/14/arts/tupac-shakur-25-rap-performer-who-personified-violence-dies.html?pagewanted=2\" target=\"_blank\" rel=\"noopener noreferrer\">an attempted ban by the vice president of the United States\u003c/a> for its criticism of police—was groundbreaking.\u003c/p>\n\u003cp>So, happy Tupac Shakur Day. But while you’re playing “\u003ca href=\"https://www.youtube.com/watch?v=FWOsbGP5Ox4\" target=\"_blank\" rel=\"noopener noreferrer\">California Love\u003c/a>” to celebrate, remember the determined young black man who kept pushing for a better world, kept fighting for his rights, and reminded us all to \u003ca href=\"https://www.youtube.com/watch?v=XW--IGAfeas\" target=\"_blank\" rel=\"noopener noreferrer\">keep our heads up\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Watch one of Shakur’s greatest interview segments below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HuBWjhEax3g'\n title='//www.youtube.com/embed/HuBWjhEax3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "A 50-Year-Old Ballet Company Picks Itself Up, Dusts Itself Off",
"headTitle": "A 50-Year-Old Ballet Company Picks Itself Up, Dusts Itself Off | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Oakland Ballet 50th Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">The East Bay dance company celebrates its past and looks to the future with a one-off performance.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Paramount Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a recent Friday, the rapping of pointe shoes emanated from the third floor of downtown Oakland’s \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>In the north studio, choreographer Amy Seiwert worked with five Oakland Ballet dancers to nail the timing of a phrase she’d just created to Vivaldi. Across the hall, in the south studio, former Oakland Ballet star Michael Lowe helped a couple find the right grip for a tricky spiraling lift in his world premiere.\u003c/p>\n\u003cp>Small and bright-eyed, Oakland Ballet artistic director Graham Lustig sat watching.\u003c/p>\n\u003cp>“It’s so exhilarating to be in the studio with these artists and dancers,” Lustig said, then crisply listed off the last names of some of the choreographers of local, national and international acclaim who feature in Oakland Ballet’s 50th anniversary celebration on May 23rd. “One moment we’re doing Fokine, then Massine, then Moses, then King, then Seiwert, then Lowe.”\u003c/p>\n\u003cp>The future of Oakland Ballet depends on the show’s success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under founding artistic director Ronn Guidi, Oakland Ballet built an international reputation for meticulous, energetic resurrections of nearly-lost classics by masters like Michel Fokine and Leonide Massine. The company also regularly commissioned leading Bay Area choreographers like Robert Moses and Alonzo King.\u003c/p>\n\u003cfigure id=\"attachment_10656762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10656762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg\" alt=\"\" width=\"400\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-843x1180.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-960x1344.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Current Oakland Ballet dancers Emily Kerr and Taurean Green in a world premiere ballet by former Oakland Ballet dancer Betsy Erickson. (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003cp>Those glory days ended in 2000, when Guidi retired and his successor, former Dance Theatre of Harlem star Karen Brown, began a bumpy ride that ended with the company closing in 2006.\u003c/p>\n\u003cp>Among other challenges, Brown was forced to liquidate the company’s resplendent costume stash to repay a loan to the city of Oakland.\u003c/p>\n\u003cp>Guidi brought the Oakland Ballet back, tentatively, from 2007-2009. But not until 2010 did the company embark once more on a steady path with the appointment of Lustig.\u003c/p>\n\u003cp>The former artistic director of American Repertory Ballet in New Jersey, Lustig launched the annual presentation of his own “Nutcracker,” brought back the Oakland Ballet’s school and summer training programs, and presented several modest spring programs.\u003c/p>\n\u003cp>Lustig has also faced setbacks: A 2012 program had to be postponed to 2013 due to low ticket sales. He’s counting on the 50th anniversary to “raise the artistic profile of the company.”\u003c/p>\n\u003cp>Saturday’s one-off “Five Decades of Oakland Ballet” performance will intermix excerpts of the historical works with a full-length performance of one watershed ballet, Vaslav Nijinsky’s erotic “Afternoon of a Faun,” from 1912 and six short commissioned ballets.\u003c/p>\n\u003cp>“It’s like a choreographic feast,” Lustig said. “You have classic dishes and nouveau dishes, and you can taste everything. I wanted to put my arms around the whole history of the company.”\u003c/p>\n\u003cfigure id=\"attachment_10656616\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg\" alt=\"Joy Gim and Ron Thiele in Oakland Ballet's 1990 performance of Michel Fokine's "Scheherazade." (Photo: John Markowski)\" width=\"400\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-877x1180.jpg 877w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-960x1291.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Gim and Ron Thiele in Oakland Ballet’s 1990 performance of Michel Fokine’s “Scheherazade.” (Photo: John Markowski)\u003c/figcaption>\u003c/figure>\n\u003cp>The following day at Laney College, company members will repeat the six world premieres alongside performances by nine other East Bay dance groups, from a belly dance troupe to street dancers the Turffeinz.\u003c/p>\n\u003cp>Lustig has needed to rent costumes from other companies for this weekend’s performances.\u003c/p>\n\u003cp>“I can’t afford for this company to be in an ivory tower,” Lustig said. “We have to be right on the ground. That’s how I see the future of this company whether we’re doing Diaghilev or the Turffeinz.”\u003c/p>\n\u003cp>By “Diaghilev,” Lustig means Sergei Diaghilev, the famous impresario who created the avant-garde Ballets Russes company, which between 1909 and 1929 scandalized all of Europe and revolutionized dance by pairing leading composers like Igor Stravinsky and designers such as Coco Chanel with the most daring choreographers of the era — Nijinsky and his sister, Bronislova Nijinska, to name but two.\u003c/p>\n\u003cp>In addition to the full-length ballet “Afternoon of a Faun,” Saturday’s program will also feature excerpts from four other Diaghilev-era works: Fokine’s “Petrouchka,” Massine’s “La Boutique Fantasque,” and Nijinska’s “Le Train Bleu” and “Les Biches.”\u003c/p>\n\u003cp>These are the works that merited Oakland Ballet a place in books like “No Fixed Points: Dance in the 20th Century,” a weighty tome that cites Oakland Ballet as “a true bootstraps operation” that “gained a national reputation” when Guidi invited Eugene Loring to stage his forgotten masterpiece Billy the Kid on the company in 1973. An excerpt from Billy also features on Saturday’s program.\u003c/p>\n\u003cp>Lustig’s personal connection to these works seems to have won over key players from Oakland Ballet’s past.\u003c/p>\n\u003cfigure id=\"attachment_10656615\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg\" alt=\"Oakland Ballet in Bronislava Nijinksa's "Le Train Bleu" in 1996. (Photo: Emilio Mercado)\" width=\"400\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-960x605.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Bronislava Nijinksa’s “Le Train Bleu” in 1996. (Photo: Emilio Mercado)\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe, an Oakland Ballet star from 1972-2000, learned the role of the dashing tennis player in Nijinska’s whimsical “Le Train Bleu” directly from Nijinksa’s daughter, and will coach this restaging. He and Lustig both learned Fokine’s “Petrouchka” from legendary dancer Nikolai Beriozov in the 1970s.\u003c/p>\n\u003cp>“There’s a trust that arises from the similarity in our backgrounds,” Lowe said.\u003c/p>\n\u003cp>Guidi has even given his personal blessing to Lustig’s 50th anniversary program-something he did not do during Karen Brown’s tenure. The Oakland Ballet’s board is growing – it now has 10 members — and major funders like the Fleishhacker Foundation and the Osher Foundation have reinstated their support. Most importantly, the dancers seem motivated and happy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Graham has a knack for picking dancers who have a strong work ethic,” dancer Emily Kerr said. “The rapport in the studio is wonderful. I just wish we had a 30-week season. I look at how we dance together at the end of four weeks and I think, imagine what we could do over 30. But I’m hopeful that can happen in the future.”\u003c/p>\n\n",
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"excerpt": "The Oakland Ballet has gone through rough times and now marks its golden anniversary with performances this weekend that look to its past – and its future.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Oakland Ballet 50th Anniversary\u003c/h2>\n\u003cdiv class=\"event-desc\">The East Bay dance company celebrates its past and looks to the future with a one-off performance.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 23, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Paramount Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/oakland-ballet-50th-anniversary/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>On a recent Friday, the rapping of pointe shoes emanated from the third floor of downtown Oakland’s \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>.\u003c/p>\n\u003cp>In the north studio, choreographer Amy Seiwert worked with five Oakland Ballet dancers to nail the timing of a phrase she’d just created to Vivaldi. Across the hall, in the south studio, former Oakland Ballet star Michael Lowe helped a couple find the right grip for a tricky spiraling lift in his world premiere.\u003c/p>\n\u003cp>Small and bright-eyed, Oakland Ballet artistic director Graham Lustig sat watching.\u003c/p>\n\u003cp>“It’s so exhilarating to be in the studio with these artists and dancers,” Lustig said, then crisply listed off the last names of some of the choreographers of local, national and international acclaim who feature in Oakland Ballet’s 50th anniversary celebration on May 23rd. “One moment we’re doing Fokine, then Massine, then Moses, then King, then Seiwert, then Lowe.”\u003c/p>\n\u003cp>The future of Oakland Ballet depends on the show’s success.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under founding artistic director Ronn Guidi, Oakland Ballet built an international reputation for meticulous, energetic resurrections of nearly-lost classics by masters like Michel Fokine and Leonide Massine. The company also regularly commissioned leading Bay Area choreographers like Robert Moses and Alonzo King.\u003c/p>\n\u003cfigure id=\"attachment_10656762\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10656762 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg\" alt=\"\" width=\"400\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-429x600.jpg 429w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-843x1180.jpg 843w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-1180x1652.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/OaklandBallet_Erickson2015-960x1344.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Current Oakland Ballet dancers Emily Kerr and Taurean Green in a world premiere ballet by former Oakland Ballet dancer Betsy Erickson. (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003cp>Those glory days ended in 2000, when Guidi retired and his successor, former Dance Theatre of Harlem star Karen Brown, began a bumpy ride that ended with the company closing in 2006.\u003c/p>\n\u003cp>Among other challenges, Brown was forced to liquidate the company’s resplendent costume stash to repay a loan to the city of Oakland.\u003c/p>\n\u003cp>Guidi brought the Oakland Ballet back, tentatively, from 2007-2009. But not until 2010 did the company embark once more on a steady path with the appointment of Lustig.\u003c/p>\n\u003cp>The former artistic director of American Repertory Ballet in New Jersey, Lustig launched the annual presentation of his own “Nutcracker,” brought back the Oakland Ballet’s school and summer training programs, and presented several modest spring programs.\u003c/p>\n\u003cp>Lustig has also faced setbacks: A 2012 program had to be postponed to 2013 due to low ticket sales. He’s counting on the 50th anniversary to “raise the artistic profile of the company.”\u003c/p>\n\u003cp>Saturday’s one-off “Five Decades of Oakland Ballet” performance will intermix excerpts of the historical works with a full-length performance of one watershed ballet, Vaslav Nijinsky’s erotic “Afternoon of a Faun,” from 1912 and six short commissioned ballets.\u003c/p>\n\u003cp>“It’s like a choreographic feast,” Lustig said. “You have classic dishes and nouveau dishes, and you can taste everything. I wanted to put my arms around the whole history of the company.”\u003c/p>\n\u003cfigure id=\"attachment_10656616\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656616\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg\" alt=\"Joy Gim and Ron Thiele in Oakland Ballet's 1990 performance of Michel Fokine's "Scheherazade." (Photo: John Markowski)\" width=\"400\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-446x600.jpg 446w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-877x1180.jpg 877w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-1180x1587.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Scheherazade-960x1291.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joy Gim and Ron Thiele in Oakland Ballet’s 1990 performance of Michel Fokine’s “Scheherazade.” (Photo: John Markowski)\u003c/figcaption>\u003c/figure>\n\u003cp>The following day at Laney College, company members will repeat the six world premieres alongside performances by nine other East Bay dance groups, from a belly dance troupe to street dancers the Turffeinz.\u003c/p>\n\u003cp>Lustig has needed to rent costumes from other companies for this weekend’s performances.\u003c/p>\n\u003cp>“I can’t afford for this company to be in an ivory tower,” Lustig said. “We have to be right on the ground. That’s how I see the future of this company whether we’re doing Diaghilev or the Turffeinz.”\u003c/p>\n\u003cp>By “Diaghilev,” Lustig means Sergei Diaghilev, the famous impresario who created the avant-garde Ballets Russes company, which between 1909 and 1929 scandalized all of Europe and revolutionized dance by pairing leading composers like Igor Stravinsky and designers such as Coco Chanel with the most daring choreographers of the era — Nijinsky and his sister, Bronislova Nijinska, to name but two.\u003c/p>\n\u003cp>In addition to the full-length ballet “Afternoon of a Faun,” Saturday’s program will also feature excerpts from four other Diaghilev-era works: Fokine’s “Petrouchka,” Massine’s “La Boutique Fantasque,” and Nijinska’s “Le Train Bleu” and “Les Biches.”\u003c/p>\n\u003cp>These are the works that merited Oakland Ballet a place in books like “No Fixed Points: Dance in the 20th Century,” a weighty tome that cites Oakland Ballet as “a true bootstraps operation” that “gained a national reputation” when Guidi invited Eugene Loring to stage his forgotten masterpiece Billy the Kid on the company in 1973. An excerpt from Billy also features on Saturday’s program.\u003c/p>\n\u003cp>Lustig’s personal connection to these works seems to have won over key players from Oakland Ballet’s past.\u003c/p>\n\u003cfigure id=\"attachment_10656615\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10656615\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg\" alt=\"Oakland Ballet in Bronislava Nijinksa's "Le Train Bleu" in 1996. (Photo: Emilio Mercado)\" width=\"400\" height=\"252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-400x252.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-1180x744.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Le-Train-Bleu-960x605.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Bronislava Nijinksa’s “Le Train Bleu” in 1996. (Photo: Emilio Mercado)\u003c/figcaption>\u003c/figure>\n\u003cp>Lowe, an Oakland Ballet star from 1972-2000, learned the role of the dashing tennis player in Nijinska’s whimsical “Le Train Bleu” directly from Nijinksa’s daughter, and will coach this restaging. He and Lustig both learned Fokine’s “Petrouchka” from legendary dancer Nikolai Beriozov in the 1970s.\u003c/p>\n\u003cp>“There’s a trust that arises from the similarity in our backgrounds,” Lowe said.\u003c/p>\n\u003cp>Guidi has even given his personal blessing to Lustig’s 50th anniversary program-something he did not do during Karen Brown’s tenure. The Oakland Ballet’s board is growing – it now has 10 members — and major funders like the Fleishhacker Foundation and the Osher Foundation have reinstated their support. Most importantly, the dancers seem motivated and happy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Graham has a knack for picking dancers who have a strong work ethic,” dancer Emily Kerr said. “The rapport in the studio is wonderful. I just wish we had a 30-week season. I look at how we dance together at the end of four weeks and I think, imagine what we could do over 30. But I’m hopeful that can happen in the future.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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