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"content": "\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ICCD404C_Philadelphia_Rennie_Harris_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Download English transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before \u003cem>Hamilton\u003c/em> and hip-hop theater became mainstream, there was dancer and choreographer Lorenzo “Rennie” Harris, who helped pioneer the artform.\u003c/p>\n\u003cp>In 1992, Harris founded the country’s first and longest running street dance theater company, \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a> (RHPM). As choreographer and artistic director, he’s created celebrated works like “Rome and Jewels,” a recasting of \u003cem>Romeo and Juliet\u003c/em> with rival gangs in his hometown of Philadelphia; “Facing Mekka,” an exploration of the global face of Islam; and “Funkedified,” a tribute to the funk music he came up dancing to in the 1970s.\u003c/p>\n\u003cfigure id=\"attachment_13901908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg\" alt=\"Black and white photo of Rennie Harris captured mid-jump.\" width=\"800\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1020x1306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-768x984.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1199x1536.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer, choreographer, artistic director Rennie Harris. \u003ccite>(Bob Emmott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, funk morphed into hip-hop, and Harris became a well-known popper and danced with the crew The Scanner Boys. He performed on the country’s first hip-hop tour, The Fresh Festival, with Run DMC, Fat Boys, Kurtis Blow, and Whodini. He also hosted the popular TV show \u003cem>One House Street\u003c/em>, which rivaled \u003cem>Club MTV\u003c/em> in ratings.\u003c/p>\n\u003cfigure id=\"attachment_13901906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg\" alt=\"A hip-hop dance and dj crew in the 1980s featuring young male dancers performing on stage while the djs in the back get ready to play a record.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Scanner Boys, featuring Rennie Harris on the top left. \u003ccite>(Courtesy Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of seven kids raised by a single mom in North Philadelphia, Harris bounced around between life at home and the houses of his aunties and family friends. In his early solo work, he references experiences of being molested and growing up under the constant threat of violence. His approach to dance, even when creating work for concert stages, has always been about his own healing—a way for him “to see and feel God,” says Harris. With a through line in his work of spiritual enlightenment, he’s been dubbed the “High Priest of Hip-Hop” by \u003cem>Dance Magazine\u003c/em>, who recognized Harris with a \u003ca href=\"https://www.dancemagazine.com/rennie-harris-2508392306.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Living Legends” award\u003c/a> in 2017.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Audiences and critics weren’t always so accepting, says Harris. In the early days of his company, “You had people picketing, and they would send police to our shows. They’d show up, verbatim, ‘I hear there’s some hip-hop here,’” he says. Officers would arrive prepared to break up fights. Instead, Harris’ stage manager would offer them seats to watch the show. “Their faces were like, ‘What?’ They didn’t get it.”\u003c/p>\n\u003cfigure id=\"attachment_13901916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg\" alt=\"A still from a hip-hop theater production featuring several dancers on a stage of a theater with a big projection screen showing childhood photos of Rennie Harris.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg 1586w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “Funkedified,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy New Victory Theater, powered by New 42)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before long, Harris would become a highly sought-after choreographer and artistic director, and RHPM toured globally after Harris was appointed a cultural ambassador for President Obama’s Dance Motion USA program. “For the first 20 years of the company, people had never seen anything like it—they’ve seen hip-hop in theater, the acrobatic entertainment part of it, but they hadn’t seen street dance used in an expressive way, with a narrative, abstractly,” he says. “We shifted their concept of what hip-hop or street dance was.”\u003c/p>\n\u003cfigure id=\"attachment_13901913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg\" alt=\"A still from a hip-hop theater performance that shows dancers and singers on a stage in front of an actor playing a priest.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1536x877.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “LIFTED,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy Bates Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, San Francisco has proven to be a loyal audience for Harris and RHPM productions, with performances at Stern Grove Festival, the San Francisco International Hip-Hop Festival and YBCA. Bay Area audiences were first introduced to him in 1999 at Theater Artaud with “Rome and Jewels.” The story centers on rival street gangs battling for control of the city, and integrates the East and West Coast hip-hop wars that claimed the lives of Notorious B.I.G. and Tupac Shakur. “The title is a dig at the hip-hop community. ‘Rome’ is short for roaming. ‘Jewels’ is short for jewelry—roaming for jewelry,” says Harris of the show, which is being restaged for the 30th anniversary of RHMP.\u003c/p>\n\u003cp>Harris recites the opening lines, written and performed by dancer Ozzie Jones. “‘BIG and Pac roam for jewels, but don’t we all? / We ain’t nobody until we a mural on somebody’s wall.’ I love that. If you’re really listening to what is being said, it’s prophetic.”\u003c/p>\n\u003cp>In this If Cities Could Dance special release, Harris breaks down five major moments from his life.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>ICYMI, also check out our Philadelphia house dance episode, in which Harris makes a cameo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhVf4tLBAdplUY3Bl1iqKWC\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>If Cities Could Dance\u003c/em>\u003c/a> \u003cem>is KQED Arts’ award-winning video series featuring dancers across the country who represent their city’s signature moves.\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ICCD404C_Philadelphia_Rennie_Harris_Captions.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Download English transcript.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>Before \u003cem>Hamilton\u003c/em> and hip-hop theater became mainstream, there was dancer and choreographer Lorenzo “Rennie” Harris, who helped pioneer the artform.\u003c/p>\n\u003cp>In 1992, Harris founded the country’s first and longest running street dance theater company, \u003ca href=\"https://www.rhpm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Rennie Harris Puremovement\u003c/a> (RHPM). As choreographer and artistic director, he’s created celebrated works like “Rome and Jewels,” a recasting of \u003cem>Romeo and Juliet\u003c/em> with rival gangs in his hometown of Philadelphia; “Facing Mekka,” an exploration of the global face of Islam; and “Funkedified,” a tribute to the funk music he came up dancing to in the 1970s.\u003c/p>\n\u003cfigure id=\"attachment_13901908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg\" alt=\"Black and white photo of Rennie Harris captured mid-jump.\" width=\"800\" height=\"1025\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-800x1025.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1020x1306.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-768x984.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1-1199x1536.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieScarecrow_photobyiBobEmmott-1.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dancer, choreographer, artistic director Rennie Harris. \u003ccite>(Bob Emmott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1980s, funk morphed into hip-hop, and Harris became a well-known popper and danced with the crew The Scanner Boys. He performed on the country’s first hip-hop tour, The Fresh Festival, with Run DMC, Fat Boys, Kurtis Blow, and Whodini. He also hosted the popular TV show \u003cem>One House Street\u003c/em>, which rivaled \u003cem>Club MTV\u003c/em> in ratings.\u003c/p>\n\u003cfigure id=\"attachment_13901906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg\" alt=\"A hip-hop dance and dj crew in the 1980s featuring young male dancers performing on stage while the djs in the back get ready to play a record.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/ScannerBoys_FAF1984_0374_edit_01.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Scanner Boys, featuring Rennie Harris on the top left. \u003ccite>(Courtesy Smithsonian Institution)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The eldest of seven kids raised by a single mom in North Philadelphia, Harris bounced around between life at home and the houses of his aunties and family friends. In his early solo work, he references experiences of being molested and growing up under the constant threat of violence. His approach to dance, even when creating work for concert stages, has always been about his own healing—a way for him “to see and feel God,” says Harris. With a through line in his work of spiritual enlightenment, he’s been dubbed the “High Priest of Hip-Hop” by \u003cem>Dance Magazine\u003c/em>, who recognized Harris with a \u003ca href=\"https://www.dancemagazine.com/rennie-harris-2508392306.html\" target=\"_blank\" rel=\"noopener noreferrer\">“Living Legends” award\u003c/a> in 2017.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Audiences and critics weren’t always so accepting, says Harris. In the early days of his company, “You had people picketing, and they would send police to our shows. They’d show up, verbatim, ‘I hear there’s some hip-hop here,’” he says. Officers would arrive prepared to break up fights. Instead, Harris’ stage manager would offer them seats to watch the show. “Their faces were like, ‘What?’ They didn’t get it.”\u003c/p>\n\u003cfigure id=\"attachment_13901916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901916\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg\" alt=\"A still from a hip-hop theater production featuring several dancers on a stage of a theater with a big projection screen showing childhood photos of Rennie Harris.\" width=\"800\" height=\"545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_05_20_13.Still007.jpg 1586w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “Funkedified,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy New Victory Theater, powered by New 42)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before long, Harris would become a highly sought-after choreographer and artistic director, and RHPM toured globally after Harris was appointed a cultural ambassador for President Obama’s Dance Motion USA program. “For the first 20 years of the company, people had never seen anything like it—they’ve seen hip-hop in theater, the acrobatic entertainment part of it, but they hadn’t seen street dance used in an expressive way, with a narrative, abstractly,” he says. “We shifted their concept of what hip-hop or street dance was.”\u003c/p>\n\u003cfigure id=\"attachment_13901913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901913\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg\" alt=\"A still from a hip-hop theater performance that shows dancers and singers on a stage in front of an actor playing a priest.\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003-1536x877.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/RennieHarris_082421.00_17_40_22.Still003.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Still from “LIFTED,” a Rennie Harris Puremovement Production. \u003ccite>(Courtesy Bates Dance Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, San Francisco has proven to be a loyal audience for Harris and RHPM productions, with performances at Stern Grove Festival, the San Francisco International Hip-Hop Festival and YBCA. Bay Area audiences were first introduced to him in 1999 at Theater Artaud with “Rome and Jewels.” The story centers on rival street gangs battling for control of the city, and integrates the East and West Coast hip-hop wars that claimed the lives of Notorious B.I.G. and Tupac Shakur. “The title is a dig at the hip-hop community. ‘Rome’ is short for roaming. ‘Jewels’ is short for jewelry—roaming for jewelry,” says Harris of the show, which is being restaged for the 30th anniversary of RHMP.\u003c/p>\n\u003cp>Harris recites the opening lines, written and performed by dancer Ozzie Jones. “‘BIG and Pac roam for jewels, but don’t we all? / We ain’t nobody until we a mural on somebody’s wall.’ I love that. If you’re really listening to what is being said, it’s prophetic.”\u003c/p>\n\u003cp>In this If Cities Could Dance special release, Harris breaks down five major moments from his life.\u003cem> — Text by Kelly Whalen\u003c/em>\u003c/p>\n\u003cp>ICYMI, also check out our Philadelphia house dance episode, in which Harris makes a cameo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Meet Philadelphia’s Soulful House Dancers | If Cities Could Dance\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/01dOePGSSw8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whether she’s teaching history to eighth graders at Monroe Middle School, performing spoken-word poetry at \u003ca href=\"https://workssanjose.org/\">Works/San José\u003c/a> or rallying a crowd of protestors,\u003ca href=\"http://www.ashapoet.com/\"> ASHA\u003c/a> is unapologetically herself.\u003c/p>\n\u003cp>Part of that confidence and stage presence comes from knowing her family’s story—the result of generations of displacement and migration—won’t be told by anyone else, especially not the history books. That realization came early: In sixth grade she found her family’s name, Sudra, summed up in two brief paragraphs about India’s caste system.\u003c/p>\n\u003cp>“My family story is so much more rich than that,” she says, tracing their path from India to British-run East Africa, then to refugee camps in England and finally, Los Angeles, where she was born.\u003c/p>\n\u003cp>Her family’s trajectory deeply informs her own art, where she talks about the ramifications of colonialism, the realities of growing up as a person of color in the United States, and how she grew to be comfortable in her own skin.\u003c/p>\n\u003cp>In her history classes, she provides students with the tools to examine their own identities and learn about their families’ paths to San Jose. On stage and at the front of the classroom, she refuses to let her story—or theirs—be erased or forgotten.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m calling on you to speak up,” ASHA says. “Find your story, find your history. No one will speak for us.” — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch ASHA perform an excerpt from her poem ‘She Walked’ below.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/BmMXj8jlOKV/?taken-by=kqed_arts\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether she’s teaching history to eighth graders at Monroe Middle School, performing spoken-word poetry at \u003ca href=\"https://workssanjose.org/\">Works/San José\u003c/a> or rallying a crowd of protestors,\u003ca href=\"http://www.ashapoet.com/\"> ASHA\u003c/a> is unapologetically herself.\u003c/p>\n\u003cp>Part of that confidence and stage presence comes from knowing her family’s story—the result of generations of displacement and migration—won’t be told by anyone else, especially not the history books. That realization came early: In sixth grade she found her family’s name, Sudra, summed up in two brief paragraphs about India’s caste system.\u003c/p>\n\u003cp>“My family story is so much more rich than that,” she says, tracing their path from India to British-run East Africa, then to refugee camps in England and finally, Los Angeles, where she was born.\u003c/p>\n\u003cp>Her family’s trajectory deeply informs her own art, where she talks about the ramifications of colonialism, the realities of growing up as a person of color in the United States, and how she grew to be comfortable in her own skin.\u003c/p>\n\u003cp>In her history classes, she provides students with the tools to examine their own identities and learn about their families’ paths to San Jose. On stage and at the front of the classroom, she refuses to let her story—or theirs—be erased or forgotten.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kev Choice is a rapper, educator and classically trained pianist who seems to be everywhere in the local music scene. Bay Area concertgoers might recognize him from Yoshi’s or SFJazz, where he’s performed with his Kev Choice Ensemble, or remember him from behind the keys accompanying local artists like Too Short and Rayana Jay.\u003c/p>\n\u003cp>Choice, who was born and raised in Oakland, says that his main goal with his music is to inspire people of different walks of life and create safe spaces for self-expression. \u003ca href=\"https://kevchoice.wordpress.com/\">His music\u003c/a> is also a way for him to celebrate Oakland’s culture and give back to his community. For Choice, Oakland has always been a mecca for diversity and a center of black excellence. He grew up with black teachers and role models who inspired him to pursue his musical aspirations; now as an adult, he pays it forward by regularly mentoring and performing with student musicians from local high schools.\u003c/p>\n\u003cp>“When I started my band Kev Choice Ensemble, really my first main goal was being able to have a band of young, African-American musicians who would play music at a high level and high caliber,” he says.\u003c/p>\n\u003cp>One of Choice’s most important works to date is his \u003ca href=\"https://www.oaklandsymphony.org/event/rooted-in-oakland/\">\u003cem>Soul Restoration Suite\u003c/em>\u003c/a>, a piece commissioned by the Oakland Symphony. He says he wrote it when he was going through a period of personal life changes while watching his hometown transform as a result of ongoing gentrification. “It was me trying to restore my soul and also trying to restore the soul of Oakland at the same time,” he says. The piece mixes hip-hop and classical influences (think Ravel meets A Tribe Called Quest), and Choice debuted it at the Oakland Symphony in March 2018 with the Kev Choice Ensemble, Oakland School for the Arts High School Vocal Chorus and vocalists Jennifer Johns and Viveca Hawkins.\u003c/p>\n\u003cp>“That word restoration came to me,” Choice says. “I was trying to get back to who I really am as a person—what got me into music, that desire to be better, that desire to grow—at the same time thinking about what Oakland is right now. How do we get back to that community of support, of pride?” — \u003cem>Text by Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kev Choice is a rapper, educator and classically trained pianist who seems to be everywhere in the local music scene. Bay Area concertgoers might recognize him from Yoshi’s or SFJazz, where he’s performed with his Kev Choice Ensemble, or remember him from behind the keys accompanying local artists like Too Short and Rayana Jay.\u003c/p>\n\u003cp>Choice, who was born and raised in Oakland, says that his main goal with his music is to inspire people of different walks of life and create safe spaces for self-expression. \u003ca href=\"https://kevchoice.wordpress.com/\">His music\u003c/a> is also a way for him to celebrate Oakland’s culture and give back to his community. For Choice, Oakland has always been a mecca for diversity and a center of black excellence. He grew up with black teachers and role models who inspired him to pursue his musical aspirations; now as an adult, he pays it forward by regularly mentoring and performing with student musicians from local high schools.\u003c/p>\n\u003cp>“When I started my band Kev Choice Ensemble, really my first main goal was being able to have a band of young, African-American musicians who would play music at a high level and high caliber,” he says.\u003c/p>\n\u003cp>One of Choice’s most important works to date is his \u003ca href=\"https://www.oaklandsymphony.org/event/rooted-in-oakland/\">\u003cem>Soul Restoration Suite\u003c/em>\u003c/a>, a piece commissioned by the Oakland Symphony. He says he wrote it when he was going through a period of personal life changes while watching his hometown transform as a result of ongoing gentrification. “It was me trying to restore my soul and also trying to restore the soul of Oakland at the same time,” he says. The piece mixes hip-hop and classical influences (think Ravel meets A Tribe Called Quest), and Choice debuted it at the Oakland Symphony in March 2018 with the Kev Choice Ensemble, Oakland School for the Arts High School Vocal Chorus and vocalists Jennifer Johns and Viveca Hawkins.\u003c/p>\n\u003cp>“That word restoration came to me,” Choice says. “I was trying to get back to who I really am as a person—what got me into music, that desire to be better, that desire to grow—at the same time thinking about what Oakland is right now. How do we get back to that community of support, of pride?” — \u003cem>Text by Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp class=\"p1\">You can’t fight for justice, equity and freedom on an empty stomach. The co-founders of \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">People’s Kitchen Collective\u003c/span>\u003c/a> (PKC), Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval, believe in the power of conversation and community over shared meals—and the necessity of bridging racial, religious and generational divides to build solidarity.\u003c/p>\n\u003cp class=\"p1\">Over the course of a year, PKC organized a four-meal series called “From the FARM, to the KITCHEN, to the TABLE, to the STREETS,” nourishing people with courses sourced from their own family recipes, community members and historical references. As PKC says, “In our kitchen, food has flavor.”\u003c/p>\n\u003cp class=\"p1\">“TABLE” brought together communities affected by xenophobic immigration policies, including Flora Ninomiya, a survivor of the internment camps of Japanese Americans established under Executive Order 9066, and Misha Abbas, a Muslim textile artist from Pakistan.\u003c/p>\n\u003cp class=\"p1\">“The Muslim travel ban and the idea that we don’t belong here, that’s how the Japanese were seen,” says Abbas, who created and naturally died furoshiki, traditional Japanese wrapping cloths, using flowers from Ninomiya’s land. “We’re part of the same struggle.”\u003c/p>\n\u003cp class=\"p1\">For the culminating meal, PKC fed 500 guests, with dishes inspired by the Black Panthers’ Free Breakfast Program—at a single long table that spanned an entire West Oakland city block.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">“We’re Black and brown people at a table together in a Black and brown neighborhood, claiming space, and that’s political,” says Keval. This is especially true in West Oakland, where rapid gentrification is pushing longtime residents and artists out of the neighborhood. One need only a look at the Alena Museum, the community arts space out of which PKC has operated the last two years, and \u003ca href=\"https://www.mercurynews.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">its likely displacement\u003c/span>\u003c/a>, as an example of looming cultural erasure in the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">PKC’s mission to “nourish the revolution” is both radical and completely in earnest. “At every meal,” Keval says, “we want you to be moved, moved out into a place where you’re publicly advocating for the issues that matter.” — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "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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"mindshift": {
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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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"order": 12
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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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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