A Day in the Life with Breakout Bay Area Rappers HBK Gang
Afrocuba! Bringing Cuban Rumba to the Bay
Afrobeat, Antibalas, and the Funky Hardline
Revolution at 33 1/3: DJ Leydis and the Quest for Cuba
SF and Oakland Hip Hop Histories Come Alive in this Dance Demo
In Oakland, Art Digs Residents Deeper into Place
After 20 Years, Celebrating Longevity in Hip Hop
NAKA Dance Theater Investigates Violence and State Brutality on the Streets of Oakland
I Still Hear The Drum: A Tribe Called Red Brings Nation II Nation to The New Parish
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"content": "\u003cp>On a typical Saturday afternoon in the Havana courtyard of El Palenque, drummers coax conga rumba rhythms into the air above the crowd. A thousand miles away, Sundays in Central Park also mean rumba. For decades, Cubans in New York City, like their counterparts in Havana, have gathered to honor the clave, the spirits, and the island of their birth through a centuries-old stretch of song and dance.\u003c/p>\n\u003cp>Cuban rumba is part of the earth \u003cem>beneath\u003c/em> the foundation atop which its most eloquent musical houses are built. In all ways African, syncretic, and unyielding, it’s a disciplined system of celebration, reverence, and aesthetic that is as sacred as it as profane. And in Miami, New Orleans, D.C., or anywhere a handful of Afro-Cubans form community, rumba is usually only a heartbeat away.\u003c/p>\n\u003cp>To pay homage to those who’ve cut the path of rumba from African continent to Caribbean island and on to the States, this Thursday, \u003ca title=\"Ariel Fernandez, AfroFusion Lounge Interview\" href=\"https://afrofusionlounge.wordpress.com/2011/03/06/interview-with-afrocubas-dj-asho/\">Ariel Fernandez, known as DJ Asho\u003c/a>, brings his project Afrocuba! to the East Bay. According to Fernandez, who moved to New York from Havana in 2005 at the tail end of a leading role in the island’s hip-hop scene, discussions about Cuban culture too frequently avoid central issues of race, a disservice to African-descendant Cubans whose West African cultural retention laid the foundation for musical styles among many of Cuba’s most significant exports. Making this discussion public, from Cuba to the world, is part of the goal behind Afrocuba! “It’s a gathering of Cuban people and people who love Cuban music and culture,” says Fernandez, who describes starting the project in February of 2010 from the desire to create a bridge between Afro-Cubans and African Americans.\u003c/p>\n\u003cp>Since then, his insistence on honoring the Africa in Cuba continues to take him coast-to-coast. This Thursday marks the second visit of Afrocuba! to the Bay, “always,” as Fernandez notes, “as a celebration of Black History Month.”\u003c/p>\n\u003cp>Marvel at the synchronicity of hip and shoulder, have your swing at the opposing shifts of lean and step that make for corporal backbeat and rhythmic counterpoint, and catch a free screening of documentary, \u003ca title=\"Rumba Clave, Blen Blen Blen\" href=\"http://vimeo.com/66346014\">Rumba Clave Blen Blen Blen (dir. Aristides Falcon Paradi, 2013)\u003c/a>, followed by sets to fuel your \u003ca title=\"DJ Leydis\" href=\"http://ww2.kqed.org/arts/2015/02/13/revolution-at-33-13-dj-leydis-and-the-quest-for-cuba/\">inner \u003cem>rumbero\u003c/em> courtesy of DJ Leydis\u003c/a> and DJ Asho, this \u003ca title=\"Guerilla Cafe\" href=\"http://guerillacafe.com/\" target=\"_blank\" rel=\"noopener\">Thursday at Guerilla Cafe\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a typical Saturday afternoon in the Havana courtyard of El Palenque, drummers coax conga rumba rhythms into the air above the crowd. A thousand miles away, Sundays in Central Park also mean rumba. For decades, Cubans in New York City, like their counterparts in Havana, have gathered to honor the clave, the spirits, and the island of their birth through a centuries-old stretch of song and dance.\u003c/p>\n\u003cp>Cuban rumba is part of the earth \u003cem>beneath\u003c/em> the foundation atop which its most eloquent musical houses are built. In all ways African, syncretic, and unyielding, it’s a disciplined system of celebration, reverence, and aesthetic that is as sacred as it as profane. And in Miami, New Orleans, D.C., or anywhere a handful of Afro-Cubans form community, rumba is usually only a heartbeat away.\u003c/p>\n\u003cp>To pay homage to those who’ve cut the path of rumba from African continent to Caribbean island and on to the States, this Thursday, \u003ca title=\"Ariel Fernandez, AfroFusion Lounge Interview\" href=\"https://afrofusionlounge.wordpress.com/2011/03/06/interview-with-afrocubas-dj-asho/\">Ariel Fernandez, known as DJ Asho\u003c/a>, brings his project Afrocuba! to the East Bay. According to Fernandez, who moved to New York from Havana in 2005 at the tail end of a leading role in the island’s hip-hop scene, discussions about Cuban culture too frequently avoid central issues of race, a disservice to African-descendant Cubans whose West African cultural retention laid the foundation for musical styles among many of Cuba’s most significant exports. Making this discussion public, from Cuba to the world, is part of the goal behind Afrocuba! “It’s a gathering of Cuban people and people who love Cuban music and culture,” says Fernandez, who describes starting the project in February of 2010 from the desire to create a bridge between Afro-Cubans and African Americans.\u003c/p>\n\u003cp>Since then, his insistence on honoring the Africa in Cuba continues to take him coast-to-coast. This Thursday marks the second visit of Afrocuba! to the Bay, “always,” as Fernandez notes, “as a celebration of Black History Month.”\u003c/p>\n\u003cp>Marvel at the synchronicity of hip and shoulder, have your swing at the opposing shifts of lean and step that make for corporal backbeat and rhythmic counterpoint, and catch a free screening of documentary, \u003ca title=\"Rumba Clave, Blen Blen Blen\" href=\"http://vimeo.com/66346014\">Rumba Clave Blen Blen Blen (dir. Aristides Falcon Paradi, 2013)\u003c/a>, followed by sets to fuel your \u003ca title=\"DJ Leydis\" href=\"http://ww2.kqed.org/arts/2015/02/13/revolution-at-33-13-dj-leydis-and-the-quest-for-cuba/\">inner \u003cem>rumbero\u003c/em> courtesy of DJ Leydis\u003c/a> and DJ Asho, this \u003ca title=\"Guerilla Cafe\" href=\"http://guerillacafe.com/\" target=\"_blank\" rel=\"noopener\">Thursday at Guerilla Cafe\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Afrobeat, Antibalas, and the Funky Hardline",
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"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/zap-mama-and-antibalas/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Zap Mama & Antibalas\u003c/h2>\n\u003cdiv class=\"event-desc\">Carrying the Afrobeat\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 20, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/zap-mama-and-antibalas/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s good to be bulletproof. In a world of heightened military states, unchecked policing, and the psychological warfare of consumption, it’s actually \u003cem>great\u003c/em> to be bulletproof. Antibalas, whose name is literally Spanish for bulletproof, knew this to be true 17 years ago when the group sprang to life in New York City.\u003c/p>\n\u003cp>An exhausting international touring schedule, multiple parallel projects, and five albums later, Antibalas remain at the helm of America’s slow-cooked relationship with Afrobeat: the pulsing genre mélange of African-sourced funk, highlife and jazz sculpted and singularly \u003ca title=\"Fela Live in Berlin\" href=\"https://www.youtube.com/watch?v=H7Qa1o9XNOE\" target=\"_blank\" rel=\"noopener\">championed to the world by the late Fela Anikulapo Kuti\u003c/a>.\u003c/p>\n\u003cp>International statesman of the people, Black President, and present-day icon, Kuti employed Afrobeat as a highly accessible public response to so much of what was wrong in a struggling post-colonial world. Since then, Afrobeat’s very DNA, according to Antibalas founder and baritone saxophonist Martín Perna, is laddered by Fela’s defining imprint of social critique and groove, a double helix that entwines brain and body in a single conscious dance.\u003c/p>\n\u003cp>Among a small collection of groups in whose hands the music rests today, \u003ca title=\"Antibalas Live at the House of Soul\" href=\"https://www.youtube.com/watch?v=DrjZgKXrLF8\" target=\"_blank\" rel=\"noopener\">Antibalas stands out \u003c/a>as a massive big-band for which music remains a weapon. Taking time to field KQED’s questions in the midst of a national tour, Perna spoke to us ahead of Antibalas’ rapidly approaching San Francisco date with Zap Mama at the Fillmore.\u003c/p>\n\u003cp>\u003cstrong>Nearly 18 years after Fela’s death, how does Afrobeat still work as a carrier for revolutionary ideas?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t think a band can or should do non-political Afrobeat, in the same way that gospel music would ring hollow if there weren’t the constant, underlying themes of redemption, salvation, and hope beyond the obstacles of the present. In this historic moment where there are so many issues to be addressed, and particularly because we’re based in the U.S. and have a lot of privileges and relative safety compared to say, a musician in Northern Mali, we have a responsibility to be engaged.\u003c/p>\n\u003cp>\u003cstrong>How is the idea of music as a weapon more complicated than simply having a Fela figure to rally audiences to action, at least to critical thought? \u003c/strong>\u003c/p>\n\u003cp>I think making Fela a martyr of sorts is a dangerous thing. His brilliance, resilience, persistence, and humor is undeniable. But he was a human being just like any of us, and people always want someone cool to wear on a tee shirt without engaging the wholeness of who they were.\u003c/p>\n\u003cp>For that reason, I think it’s more important to engage with the critiques he makes in specific songs, to understand their relevance to the historic moment in which they were composed as well as how they’re relevant right now. “\u003ca title=\"Water Get No Enemy\" href=\"https://www.youtube.com/watch?v=IQBC5URoF0s\" target=\"_blank\" rel=\"noopener\">Water No Get Enemy\u003c/a>,” “\u003ca title=\"Upside Down\" href=\"https://www.youtube.com/watch?v=6Eh_1m0JhM0\" target=\"_blank\" rel=\"noopener\">Upside Down\u003c/a>,” “\u003ca title=\"Zombie\" href=\"https://www.youtube.com/watch?v=aqnQC3RODl0\" target=\"_blank\" rel=\"noopener\">Zombie\u003c/a>,” and “\u003ca title=\"Beast of No Nation, Live\" href=\"https://www.youtube.com/watch?v=E0BhNPiq78k\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>” are among the best examples. With this approach, engaging with Fela’s music is a deeper experience and has more revolutionary possibilities.\u003c/p>\n\u003cp>\u003cstrong>How might Afrobeat be akin at all to folk music in America, which has lost a little bit of its impact for political power over the decades?\u003c/strong>\u003c/p>\n\u003cp>Afrobeat intersects with folk music in the sense that they have both been good media for social commentary but the way the music is made is so different. Afrobeat is an urban, cosmopolitan, electrified music. You need a lot of musicians and instruments to properly execute it, whereas American folk music can be done a capella, or with little accompaniment.\u003c/p>\n\u003cp>You see social commentary in all types of music, be it jazz, rap, punk, reggae, rock ‘n’ roll or country (once in a while), but it depends on individual artists within those genres committed to speaking truth to power. None of those genres are defined by having social commentary at the root of them.\u003c/p>\n\u003cp>\u003cstrong>Nigeria’s political climate and its international relations impacted Afrobeat as used by Fela. Are there similar political charges that shape how you and Antibalas create and employ music today?\u003c/strong>\u003c/p>\n\u003cp>There are overlapping themes: crises about natural resources, abuse of police and military authority, unchecked sprawl and technological growth, government corruption, ineptitude and inefficiency, and the power of multinational vultures to supercede the sovereignty of sovereign nations.\u003c/p>\n\u003cp>At the same time, the climate in the U.S. differs in a lot of ways that are obvious, but too much to get into.\u003c/p>\n\u003cp>\u003cstrong>Considering how your work with Antibalas is received internationally, what can you say about international audiences’ needs for a music that drives and is driven by conversations around systemic dysfunction?\u003c/strong>\u003c/p>\n\u003cp>I think more and more after 17 years, where things have gotten worse and worse despite what we’ve been promised, people are starting to get it. The messages of “trickle-down economics” and “no child left behind” and “change you can believe in” ring hollow, and people are looking for music that has no false hopes or pretensions yet is still a celebration of life and the power of collective action.\u003c/p>\n\u003cp>\u003cstrong>Police in cities across the U.S. have faced increasing public critique for an ongoing list of abuses in the last year. What potential role does a socially conscious music have in a movement toward justice, if any?\u003c/strong>\u003c/p>\n\u003cp>Songs can penetrate in ways that books, reports, and speeches cannot. Music has that power of being able to pass through cognitive membranes. A musician can write an anthem that mobilizes people, that has them singing in the streets. Or a musician can write a song that bears witness to something but is not necessarily a call to action or rallying cry. Both are important.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Antibalas takes \u003ca title=\"The Fillmore\" href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">the Fillmore\u003c/a> stage this Friday, Feb. 20, in collaboration with \u003ca title=\"Zap Mama\" href=\"http://www.zapmama.com/\" target=\"_blank\" rel=\"noopener\">Zap Mama\u003c/a>.\u003c/em>\u003c/p>\n\n",
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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/zap-mama-and-antibalas/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Zap Mama & Antibalas\u003c/h2>\n\u003cdiv class=\"event-desc\">Carrying the Afrobeat\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 20, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Fillmore\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/zap-mama-and-antibalas/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>It’s good to be bulletproof. In a world of heightened military states, unchecked policing, and the psychological warfare of consumption, it’s actually \u003cem>great\u003c/em> to be bulletproof. Antibalas, whose name is literally Spanish for bulletproof, knew this to be true 17 years ago when the group sprang to life in New York City.\u003c/p>\n\u003cp>An exhausting international touring schedule, multiple parallel projects, and five albums later, Antibalas remain at the helm of America’s slow-cooked relationship with Afrobeat: the pulsing genre mélange of African-sourced funk, highlife and jazz sculpted and singularly \u003ca title=\"Fela Live in Berlin\" href=\"https://www.youtube.com/watch?v=H7Qa1o9XNOE\" target=\"_blank\" rel=\"noopener\">championed to the world by the late Fela Anikulapo Kuti\u003c/a>.\u003c/p>\n\u003cp>International statesman of the people, Black President, and present-day icon, Kuti employed Afrobeat as a highly accessible public response to so much of what was wrong in a struggling post-colonial world. Since then, Afrobeat’s very DNA, according to Antibalas founder and baritone saxophonist Martín Perna, is laddered by Fela’s defining imprint of social critique and groove, a double helix that entwines brain and body in a single conscious dance.\u003c/p>\n\u003cp>Among a small collection of groups in whose hands the music rests today, \u003ca title=\"Antibalas Live at the House of Soul\" href=\"https://www.youtube.com/watch?v=DrjZgKXrLF8\" target=\"_blank\" rel=\"noopener\">Antibalas stands out \u003c/a>as a massive big-band for which music remains a weapon. Taking time to field KQED’s questions in the midst of a national tour, Perna spoke to us ahead of Antibalas’ rapidly approaching San Francisco date with Zap Mama at the Fillmore.\u003c/p>\n\u003cp>\u003cstrong>Nearly 18 years after Fela’s death, how does Afrobeat still work as a carrier for revolutionary ideas?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t think a band can or should do non-political Afrobeat, in the same way that gospel music would ring hollow if there weren’t the constant, underlying themes of redemption, salvation, and hope beyond the obstacles of the present. In this historic moment where there are so many issues to be addressed, and particularly because we’re based in the U.S. and have a lot of privileges and relative safety compared to say, a musician in Northern Mali, we have a responsibility to be engaged.\u003c/p>\n\u003cp>\u003cstrong>How is the idea of music as a weapon more complicated than simply having a Fela figure to rally audiences to action, at least to critical thought? \u003c/strong>\u003c/p>\n\u003cp>I think making Fela a martyr of sorts is a dangerous thing. His brilliance, resilience, persistence, and humor is undeniable. But he was a human being just like any of us, and people always want someone cool to wear on a tee shirt without engaging the wholeness of who they were.\u003c/p>\n\u003cp>For that reason, I think it’s more important to engage with the critiques he makes in specific songs, to understand their relevance to the historic moment in which they were composed as well as how they’re relevant right now. “\u003ca title=\"Water Get No Enemy\" href=\"https://www.youtube.com/watch?v=IQBC5URoF0s\" target=\"_blank\" rel=\"noopener\">Water No Get Enemy\u003c/a>,” “\u003ca title=\"Upside Down\" href=\"https://www.youtube.com/watch?v=6Eh_1m0JhM0\" target=\"_blank\" rel=\"noopener\">Upside Down\u003c/a>,” “\u003ca title=\"Zombie\" href=\"https://www.youtube.com/watch?v=aqnQC3RODl0\" target=\"_blank\" rel=\"noopener\">Zombie\u003c/a>,” and “\u003ca title=\"Beast of No Nation, Live\" href=\"https://www.youtube.com/watch?v=E0BhNPiq78k\" target=\"_blank\" rel=\"noopener\">Beasts of No Nation\u003c/a>” are among the best examples. With this approach, engaging with Fela’s music is a deeper experience and has more revolutionary possibilities.\u003c/p>\n\u003cp>\u003cstrong>How might Afrobeat be akin at all to folk music in America, which has lost a little bit of its impact for political power over the decades?\u003c/strong>\u003c/p>\n\u003cp>Afrobeat intersects with folk music in the sense that they have both been good media for social commentary but the way the music is made is so different. Afrobeat is an urban, cosmopolitan, electrified music. You need a lot of musicians and instruments to properly execute it, whereas American folk music can be done a capella, or with little accompaniment.\u003c/p>\n\u003cp>You see social commentary in all types of music, be it jazz, rap, punk, reggae, rock ‘n’ roll or country (once in a while), but it depends on individual artists within those genres committed to speaking truth to power. None of those genres are defined by having social commentary at the root of them.\u003c/p>\n\u003cp>\u003cstrong>Nigeria’s political climate and its international relations impacted Afrobeat as used by Fela. Are there similar political charges that shape how you and Antibalas create and employ music today?\u003c/strong>\u003c/p>\n\u003cp>There are overlapping themes: crises about natural resources, abuse of police and military authority, unchecked sprawl and technological growth, government corruption, ineptitude and inefficiency, and the power of multinational vultures to supercede the sovereignty of sovereign nations.\u003c/p>\n\u003cp>At the same time, the climate in the U.S. differs in a lot of ways that are obvious, but too much to get into.\u003c/p>\n\u003cp>\u003cstrong>Considering how your work with Antibalas is received internationally, what can you say about international audiences’ needs for a music that drives and is driven by conversations around systemic dysfunction?\u003c/strong>\u003c/p>\n\u003cp>I think more and more after 17 years, where things have gotten worse and worse despite what we’ve been promised, people are starting to get it. The messages of “trickle-down economics” and “no child left behind” and “change you can believe in” ring hollow, and people are looking for music that has no false hopes or pretensions yet is still a celebration of life and the power of collective action.\u003c/p>\n\u003cp>\u003cstrong>Police in cities across the U.S. have faced increasing public critique for an ongoing list of abuses in the last year. What potential role does a socially conscious music have in a movement toward justice, if any?\u003c/strong>\u003c/p>\n\u003cp>Songs can penetrate in ways that books, reports, and speeches cannot. Music has that power of being able to pass through cognitive membranes. A musician can write an anthem that mobilizes people, that has them singing in the streets. Or a musician can write a song that bears witness to something but is not necessarily a call to action or rallying cry. Both are important.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Antibalas takes \u003ca title=\"The Fillmore\" href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">the Fillmore\u003c/a> stage this Friday, Feb. 20, in collaboration with \u003ca title=\"Zap Mama\" href=\"http://www.zapmama.com/\" target=\"_blank\" rel=\"noopener\">Zap Mama\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Revolution at 33 1/3: DJ Leydis and the Quest for Cuba",
"headTitle": "Revolution at 33 1/3: DJ Leydis and the Quest for Cuba | 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>Event Information\u003c/h3>\n\u003ch2>DJ Leydis\u003c/h2>\n\u003cdiv class=\"event-desc\">Cuban-born DJ celebrates birthday weekend.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Parliament (with Rich Medina)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.811parliament.com/#!events/c66t\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SomaR Bar (at Rumba Q’ Tumba)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://somarbar.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Thanks to softened relations with the U.S., Cuba will soon know the swipe of American credit cards and \u003ca title=\"credit cards, netflix, and Cuba\" href=\"http://www.bbc.com/news/business-31322002\" target=\"_blank\" rel=\"noopener\">streaming Netflix\u003c/a>. But there is no guarantee that Oakland-based DJ Leydis, born Leydis Freire in Camaguey, Cuba, will be able to return home in the island nation’s pending transformation.\u003c/p>\n\u003cp>“Really, if you want to know my truth, I don’t think it’s going to be a real change for real people,” says Freire, whose work in Havana’s spoken-word and hip-hop underground helped establish a \u003ca title=\"Inventos: Hip Hop Cubano\" href=\"http://www.clenchedfistproductions.com/inventos/\" target=\"_blank\" rel=\"noopener\">thriving scene in the city\u003c/a>, garnering the attention of Americans long before she arrived stateside.\u003c/p>\n\u003cp>Now a permanent resident of the U.S., Freire has \u003ca title=\"with Low Down Lorretta Brown\" href=\"https://www.youtube.com/watch?v=x_RVSrUxqm0\" target=\"_blank\" rel=\"noopener\">shared stages with everyone\u003c/a> from local up-and-comers Los Rakas to tastemakers like Ahmir “Questlove” Thompson and Erykah Badu. Three times, she’s applied for permission to return to Cuba. Each time, she’s been denied entry by the Cuban government. Freire recently re-applied; that application, submitted June of last year, is still pending.\u003c/p>\n\u003cp>“I’ve traveled to all types of countries as a permanent resident,” she says. “I’ve been on all kinds of cultural exchanges to Costa Rica, Colombia, Belize, Puerto Rico — but to Cuba? No. This is the fourth time I’ve applied.”\u003c/p>\n\u003cfigure id=\"attachment_10388178\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg\" alt=\"Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\" width=\"640\" height=\"490\" class=\"size-full wp-image-10388178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_-400x306.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Friday night, the line into downtown Oakland nightclub the New Parish stretches around the block. In through the muffled bass, past dancing bodies, and jutted against a far corner of the stage is Freire. Though her eyes hide beneath the Dutch wax-print customized bill of her A’s cap, Freire’s personality pours out through the music she loves. One hand on the mixer, she shoots the opposite hand into the air as if conducting the music until she drops that hand to her heart, holding the song close for a moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If my decision was to come to this country at the risk of death, it’s not to say I hate Cuba or that I’ve renounced where I came from,” she tells me a few days afterward, sitting near the windows of a cafe in downtown Berkeley. “I love being Cuban; I’m so proud to be Cuban, I simply choose to live in another place.”\u003c/p>\n\u003cp>Spending two nights on the open sea atop a makeshift catamaran, she admits to a moment when her life was no longer in her hands. As she tells it, she made the 29-hour voyage with her eyes shut. Despite the odds and uncertainty, the raft landed in Florida, from where she promptly made her way to Oakland via a Greyhound bus ticket gifted to her by local friends.\u003c/p>\n\u003cp>A cultural inspiration to those that know her, Freire remains appreciated for her resilience and honed ability to weave a dance set from across genres of the Afro-Latino diaspora. She matches beats, stitches rhythms, and as friends approach her with hugs, she spins around to greet them, even dancing with them for a moment before she replaces her headphones and gently cues the next record.\u003c/p>\n\u003cp>“A couple years back, Obama changed the laws around of cultural exchange,” says Freire. “Many underground artists, not just Los Van Van or established acts, could come to the U.S. to share their work,” she says. “But how can you get artists from the U.S. to Cuba?” With general relaxation around American travel to Cuba, decisions around which U.S.-based artists are allowed to enter the island are increasingly up to Cuba itself.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=TsYRPkmu_C0&w=420&h=315]\u003c/p>\n\u003cp>“For the last few years I’ve felt stuck,” she says, “maybe from a bit of the frustration of not being able to go back to my country. Until recently, Cubans who became (U.S.) citizens still needed their Cuban passport. You don’t need that passport for any other country except Cuba, but that law changed. So, that could be a benefit for Cubans here who are citizens. I know people that came with me, on the same boat, and they’ve been back to Cuba a few times.” \u003c/p>\n\u003cp>Freire admits that her departure from Cuba may not be perceived as the best way to demonstrate her love for the island, but, she insists, “it was the way that I found — not my freedom, because I never felt like I needed my freedom; I’ve always felt freedom — it was the way I found my dream: to be able to, in less than two years, buy my own equipment, to be able to help my family.”\u003c/p>\n\u003cp>“There’s a pain you carry inside. It’s an emptiness that nothing fills. Music helps, but no. I go to work every weekend but when I get home, I don’t touch my turntables because I want to be online, I want to write my mom,” adds Friere. “I don’t need a government change, I need a change for them to think about families like us, families separated, a change for families, that we can go and come.”\u003c/p>\n\u003cfigure id=\"attachment_10388179\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg\" alt=\"Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\" width=\"640\" height=\"500\" class=\"size-full wp-image-10388179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3-400x313.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, through the family reunification program, Freire’s only child Erykah arrived in Oakland. “Those processes, from all I’ve read, took people one maybe two years to bring their families together. For my daughter and I, it took five years to be reunited,” says Freire.\u003c/p>\n\u003cp>There’s something silent and full about the smooth oval of her face, its skin that carries not even a hint of age, and her eyes that look straight into whomever is across the table from her. Hot chocolate steams under her chin as Freire glances out a nearby window. Rain falls in sheets against afternoon foot traffic. “Something I really loved about Camaguey is when it rained,” she remembers of home. “When I’m here and it’s raining and I can smell the wet earth, it takes me 20 years back. It’s like meditation for me.”\u003c/p>\n\u003cp>And what does she see in that meditation? “Even though I’ve found so many beautiful things,” says, Freire, “so much love, so much of a future here in the U.S., when I close my eyes I just see Cuba. It’s the only place I want to be when I feel sad, when I feel bored, when I’m happy, when I have money, when I’m broke — I just want to be in Cuba, beside my mother.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For Freire, allowing channels of musical and cultural exchange to flow easily between the life she left behind and the one she’s diligently cultivated here is second to the priority of family. To play records for her mother back in Camaguey, to sit with family and stare at the vintage phonograph she wasn’t allowed to touch as a child, those are opportunities still unavailable in the dance of restrictions between the U.S. and Cuba.\u003c/p>\n\n",
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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>Event Information\u003c/h3>\n\u003ch2>DJ Leydis\u003c/h2>\n\u003cdiv class=\"event-desc\">Cuban-born DJ celebrates birthday weekend.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 13, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Parliament (with Rich Medina)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.811parliament.com/#!events/c66t\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Feb. 15, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">SomaR Bar (at Rumba Q’ Tumba)\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"https://somarbar.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Thanks to softened relations with the U.S., Cuba will soon know the swipe of American credit cards and \u003ca title=\"credit cards, netflix, and Cuba\" href=\"http://www.bbc.com/news/business-31322002\" target=\"_blank\" rel=\"noopener\">streaming Netflix\u003c/a>. But there is no guarantee that Oakland-based DJ Leydis, born Leydis Freire in Camaguey, Cuba, will be able to return home in the island nation’s pending transformation.\u003c/p>\n\u003cp>“Really, if you want to know my truth, I don’t think it’s going to be a real change for real people,” says Freire, whose work in Havana’s spoken-word and hip-hop underground helped establish a \u003ca title=\"Inventos: Hip Hop Cubano\" href=\"http://www.clenchedfistproductions.com/inventos/\" target=\"_blank\" rel=\"noopener\">thriving scene in the city\u003c/a>, garnering the attention of Americans long before she arrived stateside.\u003c/p>\n\u003cp>Now a permanent resident of the U.S., Freire has \u003ca title=\"with Low Down Lorretta Brown\" href=\"https://www.youtube.com/watch?v=x_RVSrUxqm0\" target=\"_blank\" rel=\"noopener\">shared stages with everyone\u003c/a> from local up-and-comers Los Rakas to tastemakers like Ahmir “Questlove” Thompson and Erykah Badu. Three times, she’s applied for permission to return to Cuba. Each time, she’s been denied entry by the Cuban government. Freire recently re-applied; that application, submitted June of last year, is still pending.\u003c/p>\n\u003cp>“I’ve traveled to all types of countries as a permanent resident,” she says. “I’ve been on all kinds of cultural exchanges to Costa Rica, Colombia, Belize, Puerto Rico — but to Cuba? No. This is the fourth time I’ve applied.”\u003c/p>\n\u003cfigure id=\"attachment_10388178\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg\" alt=\"Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\" width=\"640\" height=\"490\" class=\"size-full wp-image-10388178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis2.Badu_-400x306.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere with Erykah Badu at a recent show together. (Photo: DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent Friday night, the line into downtown Oakland nightclub the New Parish stretches around the block. In through the muffled bass, past dancing bodies, and jutted against a far corner of the stage is Freire. Though her eyes hide beneath the Dutch wax-print customized bill of her A’s cap, Freire’s personality pours out through the music she loves. One hand on the mixer, she shoots the opposite hand into the air as if conducting the music until she drops that hand to her heart, holding the song close for a moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If my decision was to come to this country at the risk of death, it’s not to say I hate Cuba or that I’ve renounced where I came from,” she tells me a few days afterward, sitting near the windows of a cafe in downtown Berkeley. “I love being Cuban; I’m so proud to be Cuban, I simply choose to live in another place.”\u003c/p>\n\u003cp>Spending two nights on the open sea atop a makeshift catamaran, she admits to a moment when her life was no longer in her hands. As she tells it, she made the 29-hour voyage with her eyes shut. Despite the odds and uncertainty, the raft landed in Florida, from where she promptly made her way to Oakland via a Greyhound bus ticket gifted to her by local friends.\u003c/p>\n\u003cp>A cultural inspiration to those that know her, Freire remains appreciated for her resilience and honed ability to weave a dance set from across genres of the Afro-Latino diaspora. She matches beats, stitches rhythms, and as friends approach her with hugs, she spins around to greet them, even dancing with them for a moment before she replaces her headphones and gently cues the next record.\u003c/p>\n\u003cp>“A couple years back, Obama changed the laws around of cultural exchange,” says Freire. “Many underground artists, not just Los Van Van or established acts, could come to the U.S. to share their work,” she says. “But how can you get artists from the U.S. to Cuba?” With general relaxation around American travel to Cuba, decisions around which U.S.-based artists are allowed to enter the island are increasingly up to Cuba itself.\u003c/p>\n\u003cp>\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/TsYRPkmu_C0'\n title='//www.youtube.com/embed/TsYRPkmu_C0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“For the last few years I’ve felt stuck,” she says, “maybe from a bit of the frustration of not being able to go back to my country. Until recently, Cubans who became (U.S.) citizens still needed their Cuban passport. You don’t need that passport for any other country except Cuba, but that law changed. So, that could be a benefit for Cubans here who are citizens. I know people that came with me, on the same boat, and they’ve been back to Cuba a few times.” \u003c/p>\n\u003cp>Freire admits that her departure from Cuba may not be perceived as the best way to demonstrate her love for the island, but, she insists, “it was the way that I found — not my freedom, because I never felt like I needed my freedom; I’ve always felt freedom — it was the way I found my dream: to be able to, in less than two years, buy my own equipment, to be able to help my family.”\u003c/p>\n\u003cp>“There’s a pain you carry inside. It’s an emptiness that nothing fills. Music helps, but no. I go to work every weekend but when I get home, I don’t touch my turntables because I want to be online, I want to write my mom,” adds Friere. “I don’t need a government change, I need a change for them to think about families like us, families separated, a change for families, that we can go and come.”\u003c/p>\n\u003cfigure id=\"attachment_10388179\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg\" alt=\"Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\" width=\"640\" height=\"500\" class=\"size-full wp-image-10388179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Leydis.3-400x313.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Friere still hopes for the day she can return to Cuba and spin records for her family. (Photo: Get Live Media / DJ Leydis Facebook)\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, through the family reunification program, Freire’s only child Erykah arrived in Oakland. “Those processes, from all I’ve read, took people one maybe two years to bring their families together. For my daughter and I, it took five years to be reunited,” says Freire.\u003c/p>\n\u003cp>There’s something silent and full about the smooth oval of her face, its skin that carries not even a hint of age, and her eyes that look straight into whomever is across the table from her. Hot chocolate steams under her chin as Freire glances out a nearby window. Rain falls in sheets against afternoon foot traffic. “Something I really loved about Camaguey is when it rained,” she remembers of home. “When I’m here and it’s raining and I can smell the wet earth, it takes me 20 years back. It’s like meditation for me.”\u003c/p>\n\u003cp>And what does she see in that meditation? “Even though I’ve found so many beautiful things,” says, Freire, “so much love, so much of a future here in the U.S., when I close my eyes I just see Cuba. It’s the only place I want to be when I feel sad, when I feel bored, when I’m happy, when I have money, when I’m broke — I just want to be in Cuba, beside my mother.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back before maple bacon donuts, Google busses and $7 \u003cem>tortas,\u003c/em> the Mission district was Sal Barcena’s stomping ground. In the mid ’70s he ran a paper route, knew the neighborhood locals and could recognize a street fight brewing when he saw one – or at least that’s what he believed. \u003c/p>\n\u003cp>One day, spotting a crowd on the sidewalk, he thought, “Oh, it’s gonna jump off!” Sal moved in to watch the action, but then “someone blasted some music and people started yelling. Then it hit me, I was like, ‘Oh! They’re dancing!’”\u003c/p>\n\u003cfigure id=\"attachment_10145714\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IMG_5527_sal_mike.jpg\" alt=\"A Mission District Native, veteran dancer Sal “Doc Lock” Barcena is a member of the GroovMekanex, a Bay Area group dedicated to preserving popular local dance styles from the 70’s, like Strutting and Locking. Pictured here with fellow dancer “O.G.” Mike Predovic, member of the Boogaloo Conservatory.\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_5527_sal_mike.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_5527_sal_mike-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Mission District Native, veteran dancer Sal “Doc Lock” Barcena is a member of the GroovMekanex, a Bay Area group dedicated to preserving popular local dance styles from the 70’s, like Strutting and Locking. Pictured here with fellow dancer “O.G.” Mike Predovic, member of the Boogaloo Conservatory.\u003c/figcaption>\u003c/figure>\n\u003cp>As he talks, Sal dances the story into life, waving his arms and shifting his weight back and forth. It’s been nearly 40 years since he saw his first “cut up,” as he calls the impromptu battle. Now, dance students swarm around him in the halls of City Dance studios on the edge of the Mission district, where Sal is known by his stage name, Doc Lock. \u003c/p>\n\u003cp>This weekend dance fans can see Sal’s stylings for themselves when his group, the GroovMekanex, perform at the 16th annual \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>San Francisco Hip Hop DanceFest\u003c/strong>\u003c/a>. Sal is known for the dance styles of Strutting and, especially, Locking — that old-school juxtaposition of robot-like mechanical movement against sudden breaks of boneless fluidity, a coupling that makes for a foil of extremes as dancers go from ironing-board stiff tin men to undulating octopi. \u003c/p>\n\u003cp>Another master of the dances that would evolve into hip hop, Charles “Chuck” Powell was a member of the Black Messengers dance crew. After a TV friendly name change (to the Mechanical Device), Powell and his partners won a couple of rounds of TV’s \u003cem>Gong Show.\u003c/em> He’s now one of the Bay’s foremost fountains of knowledge about the hip hop precursor known as Boogaloo (a form of “funk” dancing that’s distinct from the ’60s Boogaloo or Latin Bugalú).\u003c/p>\n\u003cfigure id=\"attachment_10145713\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/AW8A2092_chuck_wayne.jpg\" alt=\"Steven Wayne Harris and Charles “Chuck” Powell (left to right) are members of The Black Messengers, an East Oakland institution of dance. Pioneering local boogaloo styles, the Messengers remain active in Bay Area circles and beyond.\" width=\"800\" height=\"533\" class=\"size-full wp-image-10145713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/AW8A2092_chuck_wayne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/AW8A2092_chuck_wayne-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Wayne Harris and Charles “Chuck” Powell (left to right) are members of The Black Messengers, an East Oakland institution of dance. Pioneering local boogaloo styles, the Messengers remain active in Bay Area circles and beyond.\u003c/figcaption>\u003c/figure>\n\u003cp>“Boogaloo is like martial arts; you’ve got so many styles,” says Chuck. Sal Agrees. Together they reminisce – and demonstrate — some core moves: 3-D, the Breakdown, and the Dynarama style — named after the jittery look of the old \u003ca href=\"http://en.wikipedia.org/wiki/Ray_Harryhausen\" target=\"_blank\" rel=\"noopener\">Dynamation stop-motion animation technique\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From San Jose to Richmond, locals in the Fillmore, Hunter’s Point, and East Oakland pioneered Northern California’s signature styles. African American, Latino, Samoan, Asian and Filipino dancers, inspired by what their neighbors were doing on the streets and dance floors, took what they saw and spun it forward, participating in local styles’ evolution. \u003c/p>\n\u003cp>But back at the start, in the ’70s, dance was \u003cem>serious.\u003c/em> Sal tells the tale of a night when he was far from the Mission, coming out of the Richmond BART station, and six young guys approached him menacingly: “A couple of them even lifted their shirts over their belts; I actually saw they were packing,” Sal remembers. \u003c/p>\n\u003cp>Then he noticed something crucial –they had a boombox. Sal pointed at the box and fell into a locking move. One of the guys challenged, “You strut, homes?’” It was on. “It wasn’t like we were cutting up on each other,” says Sal, “that part would have made it worse! But they threw some stuff and I showed what I could do.”\u003c/p>\n\u003cp>Sal muses, “If I was bunk they probably would’ve jumped me.” But that night, his moves bought him a pass. “Dancing saved my life.”\u003c/p>\n\u003cp>\u003cb>The 16th Annual San Francisco International Hip Hip DanceFest\u003c/b> runs from Nov. 14 to 16, 2014, at the Palace of Fine Arts in San Francisco. For \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit www.sfhiphopdancefest.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>All photos by Marco Villalobos.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In honor of this weekend's Hip Hop DanceFest, we asked veterans of legendary dance crews GroovMekanex and the Black Messengers to show off some signature moves from the streets of Oakland and the Fillmore. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back before maple bacon donuts, Google busses and $7 \u003cem>tortas,\u003c/em> the Mission district was Sal Barcena’s stomping ground. In the mid ’70s he ran a paper route, knew the neighborhood locals and could recognize a street fight brewing when he saw one – or at least that’s what he believed. \u003c/p>\n\u003cp>One day, spotting a crowd on the sidewalk, he thought, “Oh, it’s gonna jump off!” Sal moved in to watch the action, but then “someone blasted some music and people started yelling. Then it hit me, I was like, ‘Oh! They’re dancing!’”\u003c/p>\n\u003cfigure id=\"attachment_10145714\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IMG_5527_sal_mike.jpg\" alt=\"A Mission District Native, veteran dancer Sal “Doc Lock” Barcena is a member of the GroovMekanex, a Bay Area group dedicated to preserving popular local dance styles from the 70’s, like Strutting and Locking. Pictured here with fellow dancer “O.G.” Mike Predovic, member of the Boogaloo Conservatory.\" width=\"640\" height=\"426\" class=\"size-full wp-image-10145714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_5527_sal_mike.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IMG_5527_sal_mike-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A Mission District Native, veteran dancer Sal “Doc Lock” Barcena is a member of the GroovMekanex, a Bay Area group dedicated to preserving popular local dance styles from the 70’s, like Strutting and Locking. Pictured here with fellow dancer “O.G.” Mike Predovic, member of the Boogaloo Conservatory.\u003c/figcaption>\u003c/figure>\n\u003cp>As he talks, Sal dances the story into life, waving his arms and shifting his weight back and forth. It’s been nearly 40 years since he saw his first “cut up,” as he calls the impromptu battle. Now, dance students swarm around him in the halls of City Dance studios on the edge of the Mission district, where Sal is known by his stage name, Doc Lock. \u003c/p>\n\u003cp>This weekend dance fans can see Sal’s stylings for themselves when his group, the GroovMekanex, perform at the 16th annual \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>San Francisco Hip Hop DanceFest\u003c/strong>\u003c/a>. Sal is known for the dance styles of Strutting and, especially, Locking — that old-school juxtaposition of robot-like mechanical movement against sudden breaks of boneless fluidity, a coupling that makes for a foil of extremes as dancers go from ironing-board stiff tin men to undulating octopi. \u003c/p>\n\u003cp>Another master of the dances that would evolve into hip hop, Charles “Chuck” Powell was a member of the Black Messengers dance crew. After a TV friendly name change (to the Mechanical Device), Powell and his partners won a couple of rounds of TV’s \u003cem>Gong Show.\u003c/em> He’s now one of the Bay’s foremost fountains of knowledge about the hip hop precursor known as Boogaloo (a form of “funk” dancing that’s distinct from the ’60s Boogaloo or Latin Bugalú).\u003c/p>\n\u003cfigure id=\"attachment_10145713\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/AW8A2092_chuck_wayne.jpg\" alt=\"Steven Wayne Harris and Charles “Chuck” Powell (left to right) are members of The Black Messengers, an East Oakland institution of dance. Pioneering local boogaloo styles, the Messengers remain active in Bay Area circles and beyond.\" width=\"800\" height=\"533\" class=\"size-full wp-image-10145713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/AW8A2092_chuck_wayne.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/AW8A2092_chuck_wayne-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steven Wayne Harris and Charles “Chuck” Powell (left to right) are members of The Black Messengers, an East Oakland institution of dance. Pioneering local boogaloo styles, the Messengers remain active in Bay Area circles and beyond.\u003c/figcaption>\u003c/figure>\n\u003cp>“Boogaloo is like martial arts; you’ve got so many styles,” says Chuck. Sal Agrees. Together they reminisce – and demonstrate — some core moves: 3-D, the Breakdown, and the Dynarama style — named after the jittery look of the old \u003ca href=\"http://en.wikipedia.org/wiki/Ray_Harryhausen\" target=\"_blank\" rel=\"noopener\">Dynamation stop-motion animation technique\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From San Jose to Richmond, locals in the Fillmore, Hunter’s Point, and East Oakland pioneered Northern California’s signature styles. African American, Latino, Samoan, Asian and Filipino dancers, inspired by what their neighbors were doing on the streets and dance floors, took what they saw and spun it forward, participating in local styles’ evolution. \u003c/p>\n\u003cp>But back at the start, in the ’70s, dance was \u003cem>serious.\u003c/em> Sal tells the tale of a night when he was far from the Mission, coming out of the Richmond BART station, and six young guys approached him menacingly: “A couple of them even lifted their shirts over their belts; I actually saw they were packing,” Sal remembers. \u003c/p>\n\u003cp>Then he noticed something crucial –they had a boombox. Sal pointed at the box and fell into a locking move. One of the guys challenged, “You strut, homes?’” It was on. “It wasn’t like we were cutting up on each other,” says Sal, “that part would have made it worse! But they threw some stuff and I showed what I could do.”\u003c/p>\n\u003cp>Sal muses, “If I was bunk they probably would’ve jumped me.” But that night, his moves bought him a pass. “Dancing saved my life.”\u003c/p>\n\u003cp>\u003cb>The 16th Annual San Francisco International Hip Hip DanceFest\u003c/b> runs from Nov. 14 to 16, 2014, at the Palace of Fine Arts in San Francisco. For \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit www.sfhiphopdancefest.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>All photos by Marco Villalobos.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah yes, gentrification happens. We know this. Loss of social, cultural and community cohesion happens. Commodification and appropriation of culture happens. Loss of housing, increased criminalization, ahhh, how they all seem to keep happening.\u003c/p>\n\u003cp>Can art combat displacement on the cusp of urban development? A council of East Oakland artists, activists and organizers have banded together to do just that. The short story here is that a \u003ca href=\"https://www.facebook.com/EastSideArtsAlliance/photos/a.139475532843815.10040.139475279510507/343539149104118/?type=1&theater\" target=\"_blank\" rel=\"noopener\">block party on October 25\u003c/a> will close off a section of 23rd Avenue at International Boulevard in celebration the 50th anniversaries of both the Black and the Chicano Arts Movements.\u003c/p>\n\u003cp>But the larger themes at work in the \u003cb>Oakland Is Proud Block Party\u003c/b> dive deeper.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/oakland_is_proud.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/oakland_is_proud-406x600.jpg\" alt=\"oakland_is_proud\" width=\"406\" height=\"600\" class=\"alignright size-medium wp-image-10144326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/oakland_is_proud-406x600.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/oakland_is_proud-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/oakland_is_proud.jpg 640w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003c/a>\u003c/p>\n\u003cp>The first in a series of “cultural plazas,” the block party is being rolled out by partners (including the Eastside Arts Alliance, Allen Temple Baptist Church and the Black Organizing Project) intending to build community visibility as leverage against displacement in advance of the pending\u003ca title=\"BRT image\" href=\"http://sf.streetsblog.org/wp-content/uploads/2012/02/ebbrt.jpg\" target=\"_blank\" rel=\"noopener\"> bus rapid transit corridor\u003c/a> (or BRT) along International Boulevard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Susanne Takehara takes the number 1R bus. It rolls down International Boulevard from deep East Oakland into downtown and all the way to Berkeley. She steps off at 23rd Avenue, near the Eastside Arts Alliance where she’s a founding member.\u003c/p>\n\u003cp>“Our collective, we live in East Oakland,” Says Susanne Takehara one afternoon sitting on the edge of the Eastside’s low-lit theater stage. “This particular area, lower San Antonio, they call it, is one of the most diverse neighborhoods on all of the West Coast. I hear a minimum of four languages spoken every time I get on the bus. There are 12 that are commonly spoken and something like 30 that have been documented.”\u003c/p>\n\u003cp>The Bus Rapid Transit will take over the center two lanes of International Boulevard, the main thoroughfare through East Oakland. Meant to serve bus riders in a more efficient way, according to Takehara, corridor development will sink money into roadways, sidewalks, and storefronts but will also serve as an entree for people to move into the area “and in our opinion,” she says, “gentrify our neighborhoods.”\u003c/p>\n\u003cp>Belief that the bus will bring new developers to one of Oakland’s most ethnically diverse corridors has people on edge. The \u003cb>Oakland is Proud Block Party\u003c/b> is the first in a series of events centered around “cultural plazas,” spaces meant to galvanize community and dig residents deeper into place as new eyes begin falling on this traditionally low-rent, pan-ethnic, working-class swathe of East Oakland.\u003c/p>\n\u003cp>But what makes anyone think a party in the street could be the best approach? Well, it’s sort of worked already.\u003c/p>\n\u003cp>Elena Serrano, also a founding member of the Eastside Arts Alliance recalls the Eastside’s own beginnings nearly 15 years ago. “In a community that needed housing and jobs and better schools and all that, the community would consistently put all their dots on a cultural center,” says Serrano.\u003c/p>\n\u003cp>Now a glorious floor-through space, complete with performance stage as well as rentable office and living spaces, the Eastside Arts Alliance was once a “hole in the wall to a hole in the wall,” remembers Serrano. But people wanted something that felt good, she recalls of the Eastside’s birth, something they could celebrate, and somewhere they could build power. Now most of the proposed cultural plaza sites along main intersections of International boulevard are vacant spaces where residents hope to plant the seeds of future community centers by simply occupying them with cultural life.\u003c/p>\n\u003cp>It’s a strategy to ensure that community residents have a place reserved for them and their cultural interests along one of the town’s most dynamic and lengthy thoroughfares. It’s a cultural mobilization to change the nature of a gentrification that is inevitable and already in motion, and perhaps more importantly, to increase the community health that comes from proximity and visibility of culture.\u003c/p>\n\u003cp>“If half of your neighborhood is getting evicted and losing their house, it’s bigger than you,” says Serrano, who also hopes to plug local residents into support services offered through the \u003ca href=\"http://www.transformca.org/events/oakland-sustainable-neighborhoods-initiative-osni-transportation-working-group-meetings\" target=\"_blank\" rel=\"noopener\">Oakland Sustainable Neighborhood Initiative\u003c/a>, a public and private partnership between the City of Oakland and non-profits to promote housing, commercial-economic development and public transportation along the proposed corridor.\u003c/p>\n\u003cp>An early planning meeting for the plazas brought 20 years of community activism together into one room. East Oakland residents using art and organizing as tools to build healthy communities throughout Oakland revealed a community older than what we know to be today’s Oakland. There was talk of the \u003ca href=\"http://en.wikipedia.org/wiki/Elmhurst,_Oakland,_California\" target=\"_blank\" rel=\"noopener\">historic Elmhurst Village\u003c/a>; \u003ca href=\"http://www.organizingupgrade.com/index.php/modules-menu/community-organizing/item/942-honoring-the-44th-anniversary-of-the-black-panthers-free-breakfast-program\" target=\"_blank\" rel=\"noopener\">breakfast programs\u003c/a> based in a community pride and hope that spread to cover the world; and a cemetery outside of Soweto where Black Panther quotes grace the headstones of anti-apartheid freedom fighters. It was a three-table-wide horseshoe of community members interested in utilizing the arts to make visible a place and a tradition that is at the heart of cultural organizing that spans the globe.\u003c/p>\n\u003cp>“We’ve seen a lot of speculation in East Oakland,” says Takehara, “We don’t want to be colonized culturally by all these new people that are going to move into the more expensive buildings that haven’t been built yet.”\u003c/p>\n\u003cp>“We’re concerned with maintaining and keeping the vibrancy of the culture of our neighborhoods here in East Oakland,” says Takehara, “but also improving conditions for folks, so that we can all stay here as opposed to fleeing to the suburbs, which happens with families worried about their young people getting imprisoned or hurt, or killed.”\u003c/p>\n\u003cp>If all goes well, East Oakland’s newest residents will arrive to bustling neighborhoods already dug in with a sense of power and enough presence to warrant respect in \u003ca href=\"http://www.cjjc.org/en/publications/reports/item/1421-development-without-displacement-report\" target=\"_blank\" rel=\"noopener\">development rather than displacement\u003c/a>.\u003c/p>\n\u003cp>The \u003cb>Oakland is Proud Block Party\u003c/b> takes place October 25, 2014 at 23rd and International Blvd. Featured performances include theater from Jose Navarette; jazz with Ms. Faye Carol, Traci Bartlow and Starchild Dance, Fua dia Congo, plus additional special guest artists, children’s activities, and food.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.eastsideartsalliance.org\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit eastsideartsalliance.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah yes, gentrification happens. We know this. Loss of social, cultural and community cohesion happens. Commodification and appropriation of culture happens. Loss of housing, increased criminalization, ahhh, how they all seem to keep happening.\u003c/p>\n\u003cp>Can art combat displacement on the cusp of urban development? A council of East Oakland artists, activists and organizers have banded together to do just that. The short story here is that a \u003ca href=\"https://www.facebook.com/EastSideArtsAlliance/photos/a.139475532843815.10040.139475279510507/343539149104118/?type=1&theater\" target=\"_blank\" rel=\"noopener\">block party on October 25\u003c/a> will close off a section of 23rd Avenue at International Boulevard in celebration the 50th anniversaries of both the Black and the Chicano Arts Movements.\u003c/p>\n\u003cp>But the larger themes at work in the \u003cb>Oakland Is Proud Block Party\u003c/b> dive deeper.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/oakland_is_proud.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/oakland_is_proud-406x600.jpg\" alt=\"oakland_is_proud\" width=\"406\" height=\"600\" class=\"alignright size-medium wp-image-10144326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/oakland_is_proud-406x600.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/oakland_is_proud-400x590.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/oakland_is_proud.jpg 640w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003c/a>\u003c/p>\n\u003cp>The first in a series of “cultural plazas,” the block party is being rolled out by partners (including the Eastside Arts Alliance, Allen Temple Baptist Church and the Black Organizing Project) intending to build community visibility as leverage against displacement in advance of the pending\u003ca title=\"BRT image\" href=\"http://sf.streetsblog.org/wp-content/uploads/2012/02/ebbrt.jpg\" target=\"_blank\" rel=\"noopener\"> bus rapid transit corridor\u003c/a> (or BRT) along International Boulevard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Susanne Takehara takes the number 1R bus. It rolls down International Boulevard from deep East Oakland into downtown and all the way to Berkeley. She steps off at 23rd Avenue, near the Eastside Arts Alliance where she’s a founding member.\u003c/p>\n\u003cp>“Our collective, we live in East Oakland,” Says Susanne Takehara one afternoon sitting on the edge of the Eastside’s low-lit theater stage. “This particular area, lower San Antonio, they call it, is one of the most diverse neighborhoods on all of the West Coast. I hear a minimum of four languages spoken every time I get on the bus. There are 12 that are commonly spoken and something like 30 that have been documented.”\u003c/p>\n\u003cp>The Bus Rapid Transit will take over the center two lanes of International Boulevard, the main thoroughfare through East Oakland. Meant to serve bus riders in a more efficient way, according to Takehara, corridor development will sink money into roadways, sidewalks, and storefronts but will also serve as an entree for people to move into the area “and in our opinion,” she says, “gentrify our neighborhoods.”\u003c/p>\n\u003cp>Belief that the bus will bring new developers to one of Oakland’s most ethnically diverse corridors has people on edge. The \u003cb>Oakland is Proud Block Party\u003c/b> is the first in a series of events centered around “cultural plazas,” spaces meant to galvanize community and dig residents deeper into place as new eyes begin falling on this traditionally low-rent, pan-ethnic, working-class swathe of East Oakland.\u003c/p>\n\u003cp>But what makes anyone think a party in the street could be the best approach? Well, it’s sort of worked already.\u003c/p>\n\u003cp>Elena Serrano, also a founding member of the Eastside Arts Alliance recalls the Eastside’s own beginnings nearly 15 years ago. “In a community that needed housing and jobs and better schools and all that, the community would consistently put all their dots on a cultural center,” says Serrano.\u003c/p>\n\u003cp>Now a glorious floor-through space, complete with performance stage as well as rentable office and living spaces, the Eastside Arts Alliance was once a “hole in the wall to a hole in the wall,” remembers Serrano. But people wanted something that felt good, she recalls of the Eastside’s birth, something they could celebrate, and somewhere they could build power. Now most of the proposed cultural plaza sites along main intersections of International boulevard are vacant spaces where residents hope to plant the seeds of future community centers by simply occupying them with cultural life.\u003c/p>\n\u003cp>It’s a strategy to ensure that community residents have a place reserved for them and their cultural interests along one of the town’s most dynamic and lengthy thoroughfares. It’s a cultural mobilization to change the nature of a gentrification that is inevitable and already in motion, and perhaps more importantly, to increase the community health that comes from proximity and visibility of culture.\u003c/p>\n\u003cp>“If half of your neighborhood is getting evicted and losing their house, it’s bigger than you,” says Serrano, who also hopes to plug local residents into support services offered through the \u003ca href=\"http://www.transformca.org/events/oakland-sustainable-neighborhoods-initiative-osni-transportation-working-group-meetings\" target=\"_blank\" rel=\"noopener\">Oakland Sustainable Neighborhood Initiative\u003c/a>, a public and private partnership between the City of Oakland and non-profits to promote housing, commercial-economic development and public transportation along the proposed corridor.\u003c/p>\n\u003cp>An early planning meeting for the plazas brought 20 years of community activism together into one room. East Oakland residents using art and organizing as tools to build healthy communities throughout Oakland revealed a community older than what we know to be today’s Oakland. There was talk of the \u003ca href=\"http://en.wikipedia.org/wiki/Elmhurst,_Oakland,_California\" target=\"_blank\" rel=\"noopener\">historic Elmhurst Village\u003c/a>; \u003ca href=\"http://www.organizingupgrade.com/index.php/modules-menu/community-organizing/item/942-honoring-the-44th-anniversary-of-the-black-panthers-free-breakfast-program\" target=\"_blank\" rel=\"noopener\">breakfast programs\u003c/a> based in a community pride and hope that spread to cover the world; and a cemetery outside of Soweto where Black Panther quotes grace the headstones of anti-apartheid freedom fighters. It was a three-table-wide horseshoe of community members interested in utilizing the arts to make visible a place and a tradition that is at the heart of cultural organizing that spans the globe.\u003c/p>\n\u003cp>“We’ve seen a lot of speculation in East Oakland,” says Takehara, “We don’t want to be colonized culturally by all these new people that are going to move into the more expensive buildings that haven’t been built yet.”\u003c/p>\n\u003cp>“We’re concerned with maintaining and keeping the vibrancy of the culture of our neighborhoods here in East Oakland,” says Takehara, “but also improving conditions for folks, so that we can all stay here as opposed to fleeing to the suburbs, which happens with families worried about their young people getting imprisoned or hurt, or killed.”\u003c/p>\n\u003cp>If all goes well, East Oakland’s newest residents will arrive to bustling neighborhoods already dug in with a sense of power and enough presence to warrant respect in \u003ca href=\"http://www.cjjc.org/en/publications/reports/item/1421-development-without-displacement-report\" target=\"_blank\" rel=\"noopener\">development rather than displacement\u003c/a>.\u003c/p>\n\u003cp>The \u003cb>Oakland is Proud Block Party\u003c/b> takes place October 25, 2014 at 23rd and International Blvd. Featured performances include theater from Jose Navarette; jazz with Ms. Faye Carol, Traci Bartlow and Starchild Dance, Fua dia Congo, plus additional special guest artists, children’s activities, and food.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.eastsideartsalliance.org\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit eastsideartsalliance.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After 20 Years, Celebrating Longevity in Hip Hop",
"headTitle": "After 20 Years, Celebrating Longevity in Hip Hop | KQED",
"content": "\u003cp>One of the country’s most celebrated poets emerged from \u003ca href=\"https://www.youtube.com/watch?v=6IxUXfhC8TI\" target=\"_blank\" rel=\"noopener\">the largest housing development in North America\u003c/a> just over 20 years ago. This month, Oakland’s Fox Theater offers you a chance to hear and celebrate the cultural staying power that is \u003ca href=\"http://www.npr.org/blogs/microphonecheck/2014/04/23/305629896/nas-im-still-charged-20-years-after-illmatic\" target=\"_blank\" rel=\"noopener\">Nasir bin Olu Dara Jones\u003c/a>, otherwise known as Nas.\u003c/p>\n\u003cp>\u003ci>Illmatic\u003c/i>, Nas’ 1994 debut album, continues to stand apart as a crown jewel of ’90s hip hop. His unflinching delivery and terse lyrical code serve as a historical account of that decade’s inner city life and times. The storytelling and soundscape of the album and its raw energy all continue to represent communities under perpetual pressure, so relevant to a nation in which brutality, unemployment, and bias compose daily challenges.\u003c/p>\n\u003cp>On each of two evenings, the first is already sold out, Nas will perform his debut album in its entirety. Part celebration for having created what some have referred to as \u003ca href=\"https://www.youtube.com/watch?v=O4XBaPl9Tns\" target=\"_blank\" rel=\"noopener\">a Bible of hip hop\u003c/a>, the performances will follow screenings of the documentary \u003ci>Nas: Time Is Illmatic\u003c/i>, a film that explores the origins of that first, landmark album and the conditions from which Nas rose.\u003c/p>\n\u003cp>As a writer, my awe centered on how Nas shoved young poetry out of containers too small to accommodate it. New York City, its nascent slam poetry scene, any pair of stereo speakers, nothing could hold the godson’s vision. He transcended social devaluations of the black body with a worldview that rewrote and spoke his personal cosmos to such a degree that the culture, this American musical culture, shifted.\u003c/p>\n\u003cp>For me, not knowing him as the \u003ca href=\"http://bombmagazine.org/article/2125/olu-dara\" target=\"_blank\" rel=\"noopener\">son of a jazz trumpeter\u003c/a>, Nas’ single on the \u003ca href=\"http://www.youtube.com/watch?v=7y3k6KjU4Sk\" target=\"_blank\" rel=\"noopener\">soundtrack to Zebrahead \u003c/a>was my introduction. Then, a chance encounter with \u003ci>Illmatic\u003c/i> in the stacks of a college radio station pulled me in soon after its release. Grazing turntable needle to record, the \u003ca href=\"http://www.youtube.com/watch?v=KIciiTDpyKA\" target=\"_blank\" rel=\"noopener\">“Subway Theme” \u003c/a>intro followed by the \u003ca href=\"http://www.youtube.com/watch?v=tKAh--ss1r0\" target=\"_blank\" rel=\"noopener\">“Human Nature”\u003c/a> loop a few grooves down — it all sounded like youth poised on the cusp of the impossible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In thinking about the album’s sonic launch from Queensbridge to Oakland, I reached out to a couple of quintessential Oakland artists, \u003ca href=\"https://www.facebook.com/TheRealShockG\" target=\"_blank\" rel=\"noopener\">Shock G\u003c/a> and \u003ca href=\"http://www.delthefunkyhomosapien.com/\" target=\"_blank\" rel=\"noopener\">Del the Funky Homosapien\u003c/a>, for their impressions of young Nas bouncing into hip hop at the tail end of what many refer to as its golden age.\u003c/p>\n\u003cfigure id=\"attachment_10143700\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\" alt=\"Del the Funky Homosapien\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: I was a pretty intense hip hop head back then, so anything that eventually became a staple, I had already known about for years before it broke through. That includes Nasty Nas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=S-zndpG0eS8\" target=\"_blank\" rel=\"noopener\">“Live at the Barbecue”\u003c/a> was a down-the-line type song off of Main Source’s first LP and Nas was the first rapper on it. Not many people in Oakland were that onto hip hop, not at that point. So nobody really was up on Main Source, much less Nas, [but] immediately I gravitated toward his flow.\u003c/p>\n\u003cfigure id=\"attachment_10143701\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\" alt=\"Shock G\" width=\"640\" height=\"871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-400x544.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-440x600.jpg 440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shock G\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Shock G\u003c/b>: I was hooked line and sinker from the second I heard, “\u003ca title=\"Nas - NY State of Mind\" href=\"http://youtu.be/UKjj4hk0pV4?t=3m7s\" target=\"_blank\" rel=\"noopener\">I was raised where the nights are jet black\u003c/a>, the fiends fight to get crack.” Nas! I always believed a lot of his appeal and longevity is in what he doesn’t say. Some emcees are conscious-less; anything that sells a record. Not Nas.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: He was soooo dope that his flow just stuck in my head over the years. And it wasn’t even the profoundness that we know of as Nas today. It was extremely graphic though, which is something we associate with Nas primarily.\u003c/p>\n\u003cp>His album dropped, but it was the lead up to that — his single from the \u003ci>Zebrahead\u003c/i> soundtrack… Nas wasn’t really known out in Oakland even when his album dropped. It was a hip hop staple of course, but it wasn’t Snoop Dogg or Dre. [Nas’] kinda music [took] some getting used to, like electronic music today. It was too new.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> I once playfully challenged Nas. In the Digital Underground song, “\u003ca title=\"DU - Wind Me Up\" href=\"http://youtu.be/B93rGE7wCvs?t=2m41s\" target=\"_blank\" rel=\"noopener\">Wind Me Up\u003c/a>” I said: “Nas, you can have the world, I want the universe — Not for myself, I put all others first.” Ha, he never responded, he prolly never even heard it.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien:\u003c/b> If you were hip to that scene [\u003ci>Illmatic\u003c/i>] was a landmark. Most in Oakland were not up on it though, not until much later, like his second album with the Puff Daddy- and Lauren-assisted material.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> Born in the right place with the right pipes and the right parents! His Royal facial symmetry, butter NY accent, and velvet voice doesn’t hurt either, ya smell me?\u003c/p>\n\u003cp>\u003ca href=\"http://staplecrops.com/nas-maximum-distance-minimum-displacement/\" target=\"_blank\" rel=\"noopener\">Citywide, nationwide, worldwide\u003c/a>, the 20th anniversary of Nas’ debut album is a celebration of perseverance, the genius of youth, and a \u003ca href=\"http://hutchinscenter.fas.harvard.edu/announcing-nasir-jones-hiphop-fellowship\" target=\"_blank\" rel=\"noopener\">cultural legacy alive and well\u003c/a> in its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nas: Time is Illmatic\u003c/i> screens Oct. 19 and 21, 2014 followed by the artist’s live performance of his now-classic debut album. For \u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit thefoxoakland.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the country’s most celebrated poets emerged from \u003ca href=\"https://www.youtube.com/watch?v=6IxUXfhC8TI\" target=\"_blank\" rel=\"noopener\">the largest housing development in North America\u003c/a> just over 20 years ago. This month, Oakland’s Fox Theater offers you a chance to hear and celebrate the cultural staying power that is \u003ca href=\"http://www.npr.org/blogs/microphonecheck/2014/04/23/305629896/nas-im-still-charged-20-years-after-illmatic\" target=\"_blank\" rel=\"noopener\">Nasir bin Olu Dara Jones\u003c/a>, otherwise known as Nas.\u003c/p>\n\u003cp>\u003ci>Illmatic\u003c/i>, Nas’ 1994 debut album, continues to stand apart as a crown jewel of ’90s hip hop. His unflinching delivery and terse lyrical code serve as a historical account of that decade’s inner city life and times. The storytelling and soundscape of the album and its raw energy all continue to represent communities under perpetual pressure, so relevant to a nation in which brutality, unemployment, and bias compose daily challenges.\u003c/p>\n\u003cp>On each of two evenings, the first is already sold out, Nas will perform his debut album in its entirety. Part celebration for having created what some have referred to as \u003ca href=\"https://www.youtube.com/watch?v=O4XBaPl9Tns\" target=\"_blank\" rel=\"noopener\">a Bible of hip hop\u003c/a>, the performances will follow screenings of the documentary \u003ci>Nas: Time Is Illmatic\u003c/i>, a film that explores the origins of that first, landmark album and the conditions from which Nas rose.\u003c/p>\n\u003cp>As a writer, my awe centered on how Nas shoved young poetry out of containers too small to accommodate it. New York City, its nascent slam poetry scene, any pair of stereo speakers, nothing could hold the godson’s vision. He transcended social devaluations of the black body with a worldview that rewrote and spoke his personal cosmos to such a degree that the culture, this American musical culture, shifted.\u003c/p>\n\u003cp>For me, not knowing him as the \u003ca href=\"http://bombmagazine.org/article/2125/olu-dara\" target=\"_blank\" rel=\"noopener\">son of a jazz trumpeter\u003c/a>, Nas’ single on the \u003ca href=\"http://www.youtube.com/watch?v=7y3k6KjU4Sk\" target=\"_blank\" rel=\"noopener\">soundtrack to Zebrahead \u003c/a>was my introduction. Then, a chance encounter with \u003ci>Illmatic\u003c/i> in the stacks of a college radio station pulled me in soon after its release. Grazing turntable needle to record, the \u003ca href=\"http://www.youtube.com/watch?v=KIciiTDpyKA\" target=\"_blank\" rel=\"noopener\">“Subway Theme” \u003c/a>intro followed by the \u003ca href=\"http://www.youtube.com/watch?v=tKAh--ss1r0\" target=\"_blank\" rel=\"noopener\">“Human Nature”\u003c/a> loop a few grooves down — it all sounded like youth poised on the cusp of the impossible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In thinking about the album’s sonic launch from Queensbridge to Oakland, I reached out to a couple of quintessential Oakland artists, \u003ca href=\"https://www.facebook.com/TheRealShockG\" target=\"_blank\" rel=\"noopener\">Shock G\u003c/a> and \u003ca href=\"http://www.delthefunkyhomosapien.com/\" target=\"_blank\" rel=\"noopener\">Del the Funky Homosapien\u003c/a>, for their impressions of young Nas bouncing into hip hop at the tail end of what many refer to as its golden age.\u003c/p>\n\u003cfigure id=\"attachment_10143700\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143700\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/del.jpg\" alt=\"Del the Funky Homosapien\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/del-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Del the Funky Homosapien\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: I was a pretty intense hip hop head back then, so anything that eventually became a staple, I had already known about for years before it broke through. That includes Nasty Nas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=S-zndpG0eS8\" target=\"_blank\" rel=\"noopener\">“Live at the Barbecue”\u003c/a> was a down-the-line type song off of Main Source’s first LP and Nas was the first rapper on it. Not many people in Oakland were that onto hip hop, not at that point. So nobody really was up on Main Source, much less Nas, [but] immediately I gravitated toward his flow.\u003c/p>\n\u003cfigure id=\"attachment_10143701\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10143701\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/shock.jpg\" alt=\"Shock G\" width=\"640\" height=\"871\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-400x544.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/shock-440x600.jpg 440w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shock G\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Shock G\u003c/b>: I was hooked line and sinker from the second I heard, “\u003ca title=\"Nas - NY State of Mind\" href=\"http://youtu.be/UKjj4hk0pV4?t=3m7s\" target=\"_blank\" rel=\"noopener\">I was raised where the nights are jet black\u003c/a>, the fiends fight to get crack.” Nas! I always believed a lot of his appeal and longevity is in what he doesn’t say. Some emcees are conscious-less; anything that sells a record. Not Nas.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien\u003c/b>: He was soooo dope that his flow just stuck in my head over the years. And it wasn’t even the profoundness that we know of as Nas today. It was extremely graphic though, which is something we associate with Nas primarily.\u003c/p>\n\u003cp>His album dropped, but it was the lead up to that — his single from the \u003ci>Zebrahead\u003c/i> soundtrack… Nas wasn’t really known out in Oakland even when his album dropped. It was a hip hop staple of course, but it wasn’t Snoop Dogg or Dre. [Nas’] kinda music [took] some getting used to, like electronic music today. It was too new.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> I once playfully challenged Nas. In the Digital Underground song, “\u003ca title=\"DU - Wind Me Up\" href=\"http://youtu.be/B93rGE7wCvs?t=2m41s\" target=\"_blank\" rel=\"noopener\">Wind Me Up\u003c/a>” I said: “Nas, you can have the world, I want the universe — Not for myself, I put all others first.” Ha, he never responded, he prolly never even heard it.\u003c/p>\n\u003cp>\u003cb>Del the Funky Homosapien:\u003c/b> If you were hip to that scene [\u003ci>Illmatic\u003c/i>] was a landmark. Most in Oakland were not up on it though, not until much later, like his second album with the Puff Daddy- and Lauren-assisted material.\u003c/p>\n\u003cp>\u003cb>Shock G:\u003c/b> Born in the right place with the right pipes and the right parents! His Royal facial symmetry, butter NY accent, and velvet voice doesn’t hurt either, ya smell me?\u003c/p>\n\u003cp>\u003ca href=\"http://staplecrops.com/nas-maximum-distance-minimum-displacement/\" target=\"_blank\" rel=\"noopener\">Citywide, nationwide, worldwide\u003c/a>, the 20th anniversary of Nas’ debut album is a celebration of perseverance, the genius of youth, and a \u003ca href=\"http://hutchinscenter.fas.harvard.edu/announcing-nasir-jones-hiphop-fellowship\" target=\"_blank\" rel=\"noopener\">cultural legacy alive and well\u003c/a> in its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Nas: Time is Illmatic\u003c/i> screens Oct. 19 and 21, 2014 followed by the artist’s live performance of his now-classic debut album. For \u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit thefoxoakland.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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/events/pick/the-anastasio-project/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘The Anastasio Project’\u003c/h4>\n\u003cdiv class=\"event-desc\">Reflecting on the state’s brutality.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 19-21, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">EastSide Arts Alliance\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/the-anastasio-project/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’ve come a long way from \u003ci>West Side Story\u003c/i>. No more pretty switchblade scissor-kick or pegged-jean pirouettes for us. Here’s our new crib note for context: begin with the mid-century rise and fall of an underserved, black working class, accompany with the rise and calculated destruction of the Black Power movement, douse with the militarization of urban policing, \u003ca href=\"https://www.indybay.org/uploads/2013/12/10/the_other_side_of_the_coin_-_counterinsu_-_kristian_williams.pdf\" target=\"_blank\" rel=\"noopener\">sprinkle in the biometric scanning of Oakland residents\u003c/a> since 1999 (akin to the type you might find in say, Fallujah), and this, dear reader, is our scene.\u003c/p>\n\u003cp>If it fails to draw a real picture, we’ve only to imagine Martha Graham’s dance company on the rubbled streets of Baghdad, and eureka! Now we’ve found the right page. Let’s begin:\u003c/p>\n\u003cp>The recent death of Anastasio Hernandez-Rojas is \u003ca href=\"http://www.democracynow.org/2012/4/24/death_on_the_border_shocking_video\" target=\"_blank\" rel=\"noopener\">NAKA Dance Theater’s point of inspiration and departure\u003c/a> for \u003ci>The Anastasio Project\u003c/i>, a multidisciplinary public performance that investigates race relations, state brutality, and violence. Though it’s been four years since Hernandez-Rojas was detained and subsequently killed by a group of U.S. Customs and Border Patrol agents near the Tijuana Border in May 2010, no one has yet been held accountable for his death.\u003c/p>\n\u003cp>The choreography of one man’s death is a dance of tasers and fists. Alone, save for the handful of border patrol agents who are beating him, our subject is handcuffed face down on the quintessential concrete stage. Cell phones document the event, screams and shouts punctuate it, and the man’s last gasp and final heartbeat close the act. Using several local narratives, cell phone footage, and recent interviews with Anastasio’s widow in San Diego, Naka Dance Theater’s Debby Kajiyama and José Navarrete are interested in connecting Anastasio’s death to the impact and trauma of similar, all-too-common local experiences in brutality.\u003c/p>\n\u003cfigure id=\"attachment_10142446\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/anastasio2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/anastasio2.jpg\" alt=\"Anastasio Project\" width=\"640\" height=\"960\" class=\"size-full wp-image-10142446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/anastasio2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/anastasio2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/anastasio2-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Steven Sanchez\u003c/figcaption>\u003c/figure>\n\u003cp>Intent on public dialogue, Kajiyama and Navarrete have sidestepped the traditional stage for the streets. In their push to perform along the complex environment of International Boulevard in East Oakland, the team hopes not only to reflect issues already familiar to the community, but to reinvigorate conversation in a place where exclusive models of contemporary performance run the risk of leaving residents cold.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“How do you engage an audience without making them watch something that’s [overtly] accessible and they feel comfortable watching?,” asks Kajiyama. “That’s not interesting to me. And also it’s not interesting to have [performers] do whatever they’re comfortable with already. We have to dig a little bit deeper.”\u003c/p>\n\u003cp>Regardless of genre, to dance in the streets of East Oakland is to make oneself vulnerable beyond nervous butterflies and heckling. It’s a vulnerability that involves physical danger, if not directed at you then at least swirling nearby.\u003c/p>\n\u003cp>We’re talking about International Boulevard, a main urban artery for one of the nation’s most diverse sets of working class immigrant families. Yes, I argue that it’s a beautiful place in the middle of Oakland that many call home, but it’s also a major inner-city broadway for the down, the out, the sexually trafficked, and their relentless young pimps. And now, it’s host to \u003ci>The Anastasio Project\u003c/i>. An Oakland beyond East 14th Street, far from\u003ca href=\"http://www.ktvu.com/news/news/local/tourism-campaign-looks-bring-more-visitors-oakland/ngTtL/\" target=\"_blank\" rel=\"noopener\"> the city’s idyllic billboards beckoning curious Portlandian visitors\u003c/a>. Where’s the room for success when artists specify such challenging locations for concept-heavy performance?\u003c/p>\n\u003cp>“Some of the people around here, when they get engaged they get really inspired, and they come in and they say ‘Oh my god, this is really cool!’” says Navarette, “And then some people, they don’t like it, like, ‘What the fuck are you doing?’”\u003c/p>\n\u003cp>It’s one thing to talk about \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58&list=UUEjrdwqHuMiuXBqhd8GpbDg\" target=\"_blank\" rel=\"noopener\">turf dancing\u003c/a>, nurturing strength in movement via the Black American body that serves as a holistic hyper-processing in flatland Oakland neighborhoods where police, residents, bullets, and their dialogue tend to move with mortal agility. It’s one thing to talk about that slow-motion dance form in its relevant organic context, but it’s a completely other discussion to take modern dance, a kind of dance without any street credibility whatsoever — with no ties to a specific geography or ethnicity, and insist that it make itself a home on the streets of East Oakland. It’s here, in a community where nearly everyone you talk to has a story about harassment at the hands of law enforcement that \u003ca href=\"http://nkdancetheater.com/\" target=\"_blank\" rel=\"noopener\">NAKA Dance Theater enters with a vulnerability and a push for empathy \u003c/a>that butts right up against a history of militarized police and violence.\u003c/p>\n\u003cp>“I’m hoping that there will be some kind of emotional engagement with the audience, and some of that might involve discomfort,” says Kajiyama.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NAKA Dance Theater’s \u003ci>The Anastasio Project\u003c/i> runs from September 19-21, 2014 along International Boulevard and 23rd avenue in Oakland. For \u003ca href=\"http://nkdancetheater.com/anastasio/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit nkdancetheater.com.\u003c/p>\n\n",
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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/events/pick/the-anastasio-project/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘The Anastasio Project’\u003c/h4>\n\u003cdiv class=\"event-desc\">Reflecting on the state’s brutality.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 19-21, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">EastSide Arts Alliance\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/the-anastasio-project/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’ve come a long way from \u003ci>West Side Story\u003c/i>. No more pretty switchblade scissor-kick or pegged-jean pirouettes for us. Here’s our new crib note for context: begin with the mid-century rise and fall of an underserved, black working class, accompany with the rise and calculated destruction of the Black Power movement, douse with the militarization of urban policing, \u003ca href=\"https://www.indybay.org/uploads/2013/12/10/the_other_side_of_the_coin_-_counterinsu_-_kristian_williams.pdf\" target=\"_blank\" rel=\"noopener\">sprinkle in the biometric scanning of Oakland residents\u003c/a> since 1999 (akin to the type you might find in say, Fallujah), and this, dear reader, is our scene.\u003c/p>\n\u003cp>If it fails to draw a real picture, we’ve only to imagine Martha Graham’s dance company on the rubbled streets of Baghdad, and eureka! Now we’ve found the right page. Let’s begin:\u003c/p>\n\u003cp>The recent death of Anastasio Hernandez-Rojas is \u003ca href=\"http://www.democracynow.org/2012/4/24/death_on_the_border_shocking_video\" target=\"_blank\" rel=\"noopener\">NAKA Dance Theater’s point of inspiration and departure\u003c/a> for \u003ci>The Anastasio Project\u003c/i>, a multidisciplinary public performance that investigates race relations, state brutality, and violence. Though it’s been four years since Hernandez-Rojas was detained and subsequently killed by a group of U.S. Customs and Border Patrol agents near the Tijuana Border in May 2010, no one has yet been held accountable for his death.\u003c/p>\n\u003cp>The choreography of one man’s death is a dance of tasers and fists. Alone, save for the handful of border patrol agents who are beating him, our subject is handcuffed face down on the quintessential concrete stage. Cell phones document the event, screams and shouts punctuate it, and the man’s last gasp and final heartbeat close the act. Using several local narratives, cell phone footage, and recent interviews with Anastasio’s widow in San Diego, Naka Dance Theater’s Debby Kajiyama and José Navarrete are interested in connecting Anastasio’s death to the impact and trauma of similar, all-too-common local experiences in brutality.\u003c/p>\n\u003cfigure id=\"attachment_10142446\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/anastasio2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/anastasio2.jpg\" alt=\"Anastasio Project\" width=\"640\" height=\"960\" class=\"size-full wp-image-10142446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/anastasio2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/anastasio2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/anastasio2-200x300.jpg 200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by Steven Sanchez\u003c/figcaption>\u003c/figure>\n\u003cp>Intent on public dialogue, Kajiyama and Navarrete have sidestepped the traditional stage for the streets. In their push to perform along the complex environment of International Boulevard in East Oakland, the team hopes not only to reflect issues already familiar to the community, but to reinvigorate conversation in a place where exclusive models of contemporary performance run the risk of leaving residents cold.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“How do you engage an audience without making them watch something that’s [overtly] accessible and they feel comfortable watching?,” asks Kajiyama. “That’s not interesting to me. And also it’s not interesting to have [performers] do whatever they’re comfortable with already. We have to dig a little bit deeper.”\u003c/p>\n\u003cp>Regardless of genre, to dance in the streets of East Oakland is to make oneself vulnerable beyond nervous butterflies and heckling. It’s a vulnerability that involves physical danger, if not directed at you then at least swirling nearby.\u003c/p>\n\u003cp>We’re talking about International Boulevard, a main urban artery for one of the nation’s most diverse sets of working class immigrant families. Yes, I argue that it’s a beautiful place in the middle of Oakland that many call home, but it’s also a major inner-city broadway for the down, the out, the sexually trafficked, and their relentless young pimps. And now, it’s host to \u003ci>The Anastasio Project\u003c/i>. An Oakland beyond East 14th Street, far from\u003ca href=\"http://www.ktvu.com/news/news/local/tourism-campaign-looks-bring-more-visitors-oakland/ngTtL/\" target=\"_blank\" rel=\"noopener\"> the city’s idyllic billboards beckoning curious Portlandian visitors\u003c/a>. Where’s the room for success when artists specify such challenging locations for concept-heavy performance?\u003c/p>\n\u003cp>“Some of the people around here, when they get engaged they get really inspired, and they come in and they say ‘Oh my god, this is really cool!’” says Navarette, “And then some people, they don’t like it, like, ‘What the fuck are you doing?’”\u003c/p>\n\u003cp>It’s one thing to talk about \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58&list=UUEjrdwqHuMiuXBqhd8GpbDg\" target=\"_blank\" rel=\"noopener\">turf dancing\u003c/a>, nurturing strength in movement via the Black American body that serves as a holistic hyper-processing in flatland Oakland neighborhoods where police, residents, bullets, and their dialogue tend to move with mortal agility. It’s one thing to talk about that slow-motion dance form in its relevant organic context, but it’s a completely other discussion to take modern dance, a kind of dance without any street credibility whatsoever — with no ties to a specific geography or ethnicity, and insist that it make itself a home on the streets of East Oakland. It’s here, in a community where nearly everyone you talk to has a story about harassment at the hands of law enforcement that \u003ca href=\"http://nkdancetheater.com/\" target=\"_blank\" rel=\"noopener\">NAKA Dance Theater enters with a vulnerability and a push for empathy \u003c/a>that butts right up against a history of militarized police and violence.\u003c/p>\n\u003cp>“I’m hoping that there will be some kind of emotional engagement with the audience, and some of that might involve discomfort,” says Kajiyama.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NAKA Dance Theater’s \u003ci>The Anastasio Project\u003c/i> runs from September 19-21, 2014 along International Boulevard and 23rd avenue in Oakland. For \u003ca href=\"http://nkdancetheater.com/anastasio/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit nkdancetheater.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "I Still Hear The Drum: A Tribe Called Red Brings Nation II Nation to The New Parish",
"headTitle": "I Still Hear The Drum: A Tribe Called Red Brings Nation II Nation to The New Parish | 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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/a-tribe-called-red/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>A Tribe Called Red\u003c/h4>\n\u003cdiv class=\"event-desc\">Experience the electric powwow.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>August 28\u003c/h4>\n\u003cp>9:00pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/a-tribe-called-red/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Your knowledge of dance music does nothing to help you understand yesterday. It may in fact limit your ability to understand tomorrow. What little you know of powwows, what gobs you know of whatever fills your days – it’s likely that none of it prepares you to understand \u003ca href=\"http://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">the rising of the “urban rez”\u003c/a> as conveyed by DJ NDN, Bear Witness, and 2oolMan, otherwise known as A Tribe Called Red.\u003c/p>\n\u003cp>Some of us have been ready longer than others. Having marinated in our own generational displacement and resilience, some of us already know how A Tribe Called Red \u003ca href=\"https://www.youtube.com/watch?v=z4M1EPB5FUI\" target=\"_blank\" rel=\"noopener\">buries fluorescence into heads\u003c/a>. Dancers flash and glow in whirlwinds of strobe and black light. Sometimes tears well up in the bottom halves of eyes, sometimes they spill over, sometimes we manage to choke them back.\u003c/p>\n\u003cp>Sometimes, if a crowd screams out loud, is it because they recognize the sound of the drum? If a drum screams, is it because it recognizes tradition retreating too deep into our past? Between throttled reservation land, federal relocation plan, and gentrifying waves, what is lost and how do we regain it? A Tribe Called Red offers answers.\u003c/p>\n\u003cp>http://youtu.be/PJRZ4_rXAzE\u003c/p>\n\u003cp>Examining misrepresentation, flipping racist imagery, and bolstering thousand year-old traditions, A Tribe Called Red presents 21st-century storytelling across media. As a Native American DJ collective out of Canada, the scope of danceable saga orchestrated by Bear Witness, 2oolman, and DJ NDN finds root in the Cayugan and Ojibwe histories that are their origin points. On August 28, at Oakland’s The New Parish, you’ll experience the sound and vision that have propelled the group far and wide since the 2008 birth of their weekly Electric Powwow party in Ottowa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When’s the last time you heard a Northern Cree love song chopped and looped beneath swirling Hollywood drama Native romance video snippets? Not once? It’s just that sort of never never that’s broken down since A Tribe Called Red \u003ca href=\"http://atribecalledred.com\" target=\"_blank\" rel=\"noopener\">distributed their eponymous debut online for free in 2012\u003c/a>. Since then they’ve continued to feed a Native community that hardly finds itself reflected in a larger society that is, in the ultimate irony of all things, \u003ca href=\"http://www.vibe.com/article/kim-kardashian-selfie-book\" target=\"_blank\" rel=\"noopener\">infatuated with incessant self-reflection\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10140748\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/nationalbumcover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/nationalbumcover.jpg\" alt=\"Never scared to collaborate with like minds, ATCR fashioned their newest release artwork with California native, Ernesto Yerena.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Never scared to collaborate with like minds, ATCR fashioned their newest release artwork with California native, Ernesto Yerena.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s the natural human response to invisibility? If the phrase “\u003ca href=\"http://www.nps.gov/trte/index.htm\" target=\"_blank\" rel=\"noopener\">Trail of Tears\u003c/a>” stirs any thoughts for you, then you understand a degree of the significance at play when we talk about a beat down leaving you more alive than bleeding. For First Nation youth in the Bay Area, the reclaiming of cultural space delivered by A Tribe Called Red is as danceable as any revolution can be. A Tribe Called Red is community restorative healing by design. They are \u003ca href=\"http://www.squamishchief.com/lifestyles/squamish-nation-youth-dance-into-the-future-1.1311220\" target=\"_blank\" rel=\"noopener\">a youth-sanctioned style\u003c/a> of informed care. Call it reclaiming cultural space. Call it housecleaning. The wail of air horns, the click-clack of shotguns loading; certain pistol grip steel clappers leave you wounded, bleeding out, sprawled upside down across city hall steps, and some wheels of steel revolve to leave you reborn, vibrating out from your core, dripping history from your pores.\u003c/p>\n\u003cp>Walk long enough through Oakland to cool down after your boogie induced sweat and you’ll stroll across traditional four directions symbols painted on sidewalks fanning out from downtown into Berkeley and the East. These icons are guideposts for a living memory. One of them is front and center on the sidewalk near \u003ca href=\"https://www.facebook.com/pages/Intertribal-Friendship-House/251798591568899?sk=info/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House\u003c/a> entrance on International Boulevard. The House has been a sort of Indigenous Ellis Island in the Bay Area since opening its doors in 1955 on the heels of \u003ca href=\"http://www.pbs.org/indiancountry/history/relocate.html\" target=\"_blank\" rel=\"noopener\">a government relocation program\u003c/a> that found thousands of Native people relocated to the Bay. Today the House serves thousands of local Native people and their descendants, as well as a larger community of First Nation people who represent 100 tribes from around the hemisphere.\u003c/p>\n\u003cfigure id=\"attachment_10140749\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mountains.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mountains.jpg\" alt=\"A range of mountains. A Tribe Called Red; Photo courtesey of Brudder Falling Tree\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mountains.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mountains-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mountains-225x300.jpg 225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A range of mountains. A Tribe Called Red; Photo courtesey of Brudder Falling Tree\u003c/figcaption>\u003c/figure>\n\u003cp>Make your way into the Friendship House and no one can tell you who painted the \u003ca href=\"http://waterbearwhiskers.tumblr.com/image/92666155524/\" target=\"_blank\" rel=\"noopener\">four directions icon on pavement citywide\u003c/a>, but a few will praise the road of A Tribe Called Red. One of those supporters is Intertribal Friendship House Executive Director, Carol Wahpepah of the Ojibwe Nation. Past a freshly watered garden, beyond a charge of murals depicting Native American historical figures and living history, at the end of long hall hung with archival photos from the House’s beginnings, Carol lights up softly at mention of the group.\u003c/p>\n\u003cp>“A young woman and her parents were up here and I mentioned A Tribe Called Red was going to be at The New Parish and she immediately got excited,” says Carol. “What they do gives pride to the community,” she says, peering out at the community garden just past the office window, beyond a desk piled with flyers for upcoming events. The sight of the garden is a reassurance of sorts, that something healthy is certain at the Intertribal Friendship House, and perhaps in Oakland at large.\u003c/p>\n\u003cp>It’s a sense of wellness through culture that’s as certain as the nocturnal certainty of four on the floor. As certain as the Tribune tower, as certain as the Transamerica Pyramid, is the certainty of the Painted Desert, of a Black Mountain ridge that sweeps from underfoot in slopes and crags that speak millennia; as powerful as an expanse of grasslands scanned from a distance as it rolls out like a tight woven tapestry sliced by wind.\u003c/p>\n\u003cp>A Tribe Called Red is likewise an impressive geography of sound and vision: a hoop and its dancer are an alluring portal deftly played; an audience and its exuberance are a spontaneous nation fresh and waking; a remix of animated caricatures is a rewriting of history that propels a new story.\u003c/p>\n\u003cp>Do you hear the drums yet?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>A Tribe Called Red\u003c/i> plays Thursday, August 28, 2014, at the New Parish in Oakland. For \u003ca href=\"http://www.thenewparish.com/event/611329-tribe-called-red-oakland\" target=\"_blank\" rel=\"noopener\">more information\u003c/a> visit thenewparish.com.\u003c/p>\n\n",
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"excerpt": "Examining misrepresentation, flipping racist imagery, and bolstering thousand year-old traditions, A Tribe Called Red presents 21st-century storytelling across media. The Native American DJ Collective plays Oakland's The New Parish August 28.",
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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/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/a-tribe-called-red/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>A Tribe Called Red\u003c/h4>\n\u003cdiv class=\"event-desc\">Experience the electric powwow.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>August 28\u003c/h4>\n\u003cp>9:00pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The New Parish\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/a-tribe-called-red/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Your knowledge of dance music does nothing to help you understand yesterday. It may in fact limit your ability to understand tomorrow. What little you know of powwows, what gobs you know of whatever fills your days – it’s likely that none of it prepares you to understand \u003ca href=\"http://www.ifhurbanrez.org/\" target=\"_blank\" rel=\"noopener\">the rising of the “urban rez”\u003c/a> as conveyed by DJ NDN, Bear Witness, and 2oolMan, otherwise known as A Tribe Called Red.\u003c/p>\n\u003cp>Some of us have been ready longer than others. Having marinated in our own generational displacement and resilience, some of us already know how A Tribe Called Red \u003ca href=\"https://www.youtube.com/watch?v=z4M1EPB5FUI\" target=\"_blank\" rel=\"noopener\">buries fluorescence into heads\u003c/a>. Dancers flash and glow in whirlwinds of strobe and black light. Sometimes tears well up in the bottom halves of eyes, sometimes they spill over, sometimes we manage to choke them back.\u003c/p>\n\u003cp>Sometimes, if a crowd screams out loud, is it because they recognize the sound of the drum? If a drum screams, is it because it recognizes tradition retreating too deep into our past? Between throttled reservation land, federal relocation plan, and gentrifying waves, what is lost and how do we regain it? A Tribe Called Red offers answers.\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/PJRZ4_rXAzE'\n title='//www.youtube.com/embed/PJRZ4_rXAzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Examining misrepresentation, flipping racist imagery, and bolstering thousand year-old traditions, A Tribe Called Red presents 21st-century storytelling across media. As a Native American DJ collective out of Canada, the scope of danceable saga orchestrated by Bear Witness, 2oolman, and DJ NDN finds root in the Cayugan and Ojibwe histories that are their origin points. On August 28, at Oakland’s The New Parish, you’ll experience the sound and vision that have propelled the group far and wide since the 2008 birth of their weekly Electric Powwow party in Ottowa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When’s the last time you heard a Northern Cree love song chopped and looped beneath swirling Hollywood drama Native romance video snippets? Not once? It’s just that sort of never never that’s broken down since A Tribe Called Red \u003ca href=\"http://atribecalledred.com\" target=\"_blank\" rel=\"noopener\">distributed their eponymous debut online for free in 2012\u003c/a>. Since then they’ve continued to feed a Native community that hardly finds itself reflected in a larger society that is, in the ultimate irony of all things, \u003ca href=\"http://www.vibe.com/article/kim-kardashian-selfie-book\" target=\"_blank\" rel=\"noopener\">infatuated with incessant self-reflection\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10140748\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/nationalbumcover.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140748\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/nationalbumcover.jpg\" alt=\"Never scared to collaborate with like minds, ATCR fashioned their newest release artwork with California native, Ernesto Yerena.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/nationalbumcover-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Never scared to collaborate with like minds, ATCR fashioned their newest release artwork with California native, Ernesto Yerena.\u003c/figcaption>\u003c/figure>\n\u003cp>What’s the natural human response to invisibility? If the phrase “\u003ca href=\"http://www.nps.gov/trte/index.htm\" target=\"_blank\" rel=\"noopener\">Trail of Tears\u003c/a>” stirs any thoughts for you, then you understand a degree of the significance at play when we talk about a beat down leaving you more alive than bleeding. For First Nation youth in the Bay Area, the reclaiming of cultural space delivered by A Tribe Called Red is as danceable as any revolution can be. A Tribe Called Red is community restorative healing by design. They are \u003ca href=\"http://www.squamishchief.com/lifestyles/squamish-nation-youth-dance-into-the-future-1.1311220\" target=\"_blank\" rel=\"noopener\">a youth-sanctioned style\u003c/a> of informed care. Call it reclaiming cultural space. Call it housecleaning. The wail of air horns, the click-clack of shotguns loading; certain pistol grip steel clappers leave you wounded, bleeding out, sprawled upside down across city hall steps, and some wheels of steel revolve to leave you reborn, vibrating out from your core, dripping history from your pores.\u003c/p>\n\u003cp>Walk long enough through Oakland to cool down after your boogie induced sweat and you’ll stroll across traditional four directions symbols painted on sidewalks fanning out from downtown into Berkeley and the East. These icons are guideposts for a living memory. One of them is front and center on the sidewalk near \u003ca href=\"https://www.facebook.com/pages/Intertribal-Friendship-House/251798591568899?sk=info/\" target=\"_blank\" rel=\"noopener\">Intertribal Friendship House\u003c/a> entrance on International Boulevard. The House has been a sort of Indigenous Ellis Island in the Bay Area since opening its doors in 1955 on the heels of \u003ca href=\"http://www.pbs.org/indiancountry/history/relocate.html\" target=\"_blank\" rel=\"noopener\">a government relocation program\u003c/a> that found thousands of Native people relocated to the Bay. Today the House serves thousands of local Native people and their descendants, as well as a larger community of First Nation people who represent 100 tribes from around the hemisphere.\u003c/p>\n\u003cfigure id=\"attachment_10140749\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mountains.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/mountains.jpg\" alt=\"A range of mountains. A Tribe Called Red; Photo courtesey of Brudder Falling Tree\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mountains.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mountains-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/mountains-225x300.jpg 225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A range of mountains. A Tribe Called Red; Photo courtesey of Brudder Falling Tree\u003c/figcaption>\u003c/figure>\n\u003cp>Make your way into the Friendship House and no one can tell you who painted the \u003ca href=\"http://waterbearwhiskers.tumblr.com/image/92666155524/\" target=\"_blank\" rel=\"noopener\">four directions icon on pavement citywide\u003c/a>, but a few will praise the road of A Tribe Called Red. One of those supporters is Intertribal Friendship House Executive Director, Carol Wahpepah of the Ojibwe Nation. Past a freshly watered garden, beyond a charge of murals depicting Native American historical figures and living history, at the end of long hall hung with archival photos from the House’s beginnings, Carol lights up softly at mention of the group.\u003c/p>\n\u003cp>“A young woman and her parents were up here and I mentioned A Tribe Called Red was going to be at The New Parish and she immediately got excited,” says Carol. “What they do gives pride to the community,” she says, peering out at the community garden just past the office window, beyond a desk piled with flyers for upcoming events. The sight of the garden is a reassurance of sorts, that something healthy is certain at the Intertribal Friendship House, and perhaps in Oakland at large.\u003c/p>\n\u003cp>It’s a sense of wellness through culture that’s as certain as the nocturnal certainty of four on the floor. As certain as the Tribune tower, as certain as the Transamerica Pyramid, is the certainty of the Painted Desert, of a Black Mountain ridge that sweeps from underfoot in slopes and crags that speak millennia; as powerful as an expanse of grasslands scanned from a distance as it rolls out like a tight woven tapestry sliced by wind.\u003c/p>\n\u003cp>A Tribe Called Red is likewise an impressive geography of sound and vision: a hoop and its dancer are an alluring portal deftly played; an audience and its exuberance are a spontaneous nation fresh and waking; a remix of animated caricatures is a rewriting of history that propels a new story.\u003c/p>\n\u003cp>Do you hear the drums yet?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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