At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art
Why Hip-Hop Artist Mystic is Devoting February to Revolutionary Love
The 20 Best Bay Area Albums of 2022
Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’
In Hip-Hop and Academia, Mystic Defines Her Own Success Story
On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017
Oakland Museum Gives Hip-Hop the Respect it's Earned
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sensational, and ignore the true diversity of the culture. That’s why, on a January Zoom call with the inaugural inductee class of the \u003ca href=\"https://microphonemechanics.com/bay-area-hip-hop-archives\">Bay Area Hip-Hop Archives\u003c/a>, Jahi implored: “Don’t leave your legacy to chance.”\u003c/p>\n\u003cp>Those in the virtual room included well-known figures like \u003ca href=\"https://www.instagram.com/suga_t_/\">Suga T\u003c/a> and \u003ca href=\"https://djdsharp.co/\">DJ D Sharp\u003c/a> of the Golden State Warriors. There was also \u003ca href=\"https://thembisamshaka.com/\">Thembisa Mshaka\u003c/a>, former editor of the influential industry magazine \u003ci>Gavin Report\u003c/i>; Helen Warren, mother of the late, great turntablist Pam the Funkstress; Black Panther-descended aerosol artist \u003ca href=\"http://www.refa1.com/\">Refa One\u003c/a>; rapper-turned-elementary educator \u003ca href=\"https://mysticworldwide.com/\">Mystic\u003c/a>; and others connected to hip-hop’s revolutionary core, who’ve helped build the culture in the Bay from the ground up. [aside postid='arts_13927349']\u003c/p>\n\u003cp>For archive curator Jahi, the time is right to preserve the Bay Area’s impact on hip-hop culture, which celebrates its 50th anniversary on Aug. 11, the day of \u003ca href=\"https://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party\">DJ Kool Herc’s fateful 1973 Bronx block party\u003c/a>. Not to mention that, in recent years, the Bay Area has seen the untimely passing of numerous hip-hop greats in their 40s and 50s. The loss of \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam the Funkstress\u003c/a>, Digital Underground frontman \u003ca href=\"https://www.kqed.org/arts/13896288/remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap\">Shock G\u003c/a>, Zion I’s \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi\u003c/a> and Blackalicious’ \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab\u003c/a> sent shockwaves of grief throughout the Bay Area. For Jahi’s generation, time is precious, and the creators of the culture feel an imperative to leave a record for posterity.\u003c/p>\n\u003cp>“When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop,” says Jahi with reverence. “And in 50 years, look what we’ve created.”\u003c/p>\n\u003cfigure id=\"attachment_13929194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg\" alt=\"Jahi wears a fedora and black suit while giving a speech on stage. \" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Hip-Hop Archives curator Jahi had a successful career as an MC before foraying into exhibitions, theater and legacy work. \u003ccite>(Courtesy of Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, hip-hop is now a multi-billion dollar industry with influence on Wall Street, the \u003ca href=\"https://www.paris2024.org/en/sport/breaking/\">2024 Olympics\u003c/a> and beyond. But it still remains a Black, working-class, grassroots culture that empowers, heals and politically mobilizes, an aspect that was front of mind for Jahi as he planned the archive, which is housed at the \u003ca href=\"https://oaklandlibrary.org/aamlo/\">African American Museum and Library at Oakland\u003c/a> (AAMLO).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since inducting the first Bay Area Hip-Hop Archives class of 15 honorees during Black History Month, Jahi has gathered 1,000 artifacts and counting from their personal collections, some of which will be on view at AAMLO’s Aug. 11 block party celebrating hip-hop’s 50th anniversary, with another viewing to come in February 2024. Concert flyers, setlists, photos, audio and video interviews are getting the “white-glove” museum treatment for future fans, artists and scholars to explore. Jahi is also hosting a \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator Night\u003c/a> with music and discussion at AAMLO on May 19, and is gearing up to announce the next 40 honorees on Juneteenth next month. [pullquote size='large' citation='Jahi, Bay Area Hip-Hop Archives curator']‘When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop. And in 50 years, look what we’ve created.’[/pullquote]\u003c/p>\n\u003cp>To create the archive, Jahi sought out a partnership with a Black-led institution, and he found the right collaborator in AAMLO and its Chief Curator Bamidele Agbasegbe-Demerson. Prior to the Bay Area Hip-Hop Archives’ launch, AAMLO already had close to 12,000 artifacts and documents chronicling Black life in Northern California, from the Gold Rush to the Black Panther Party. “So we’re joining their community,” Jahi says. “And when we’re done, we’ll probably have about ten or 12,000 pieces from the Bay Area Hip-Hop Archives. It’s a level up — in terms of preservation, protection and, most importantly, the opportunity for artists to tell their story in their own voices so they are not erased.”\u003c/p>\n\u003cp>Beyond artists, the Bay Area Hip-Hop Archives honors people who’ve played a crucial role in facilitating the local scene, such as promoter \u003ca href=\"https://ankhmarketing.com/\">Ankh Marketing\u003c/a>, which has produced community events and big-name concerts with Goapele and Erykah Badu alike, and \u003ca href=\"https://youtu.be/lkadOO6UuR0\">the Upper Room\u003c/a>, a substance-free gathering space for the San Francisco spoken word and alternative hip-hop scenes of the ’90s. Other inductees include MC and queer party producer \u003ca href=\"https://www.instagram.com/aimathedrmr/?hl=en\">Aima the Dreamer\u003c/a>; journalist, scholar and DJ \u003ca href=\"https://daveyd.com/\">Davey D\u003c/a> (who serves as an advisor on KQED’s \u003cem>That’s My Word\u003c/em>); dance historian and photographer \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>; \u003ca href=\"https://www.instagram.com/realdjkevykev/?hl=en\">DJ Kevy Kev\u003c/a>; the “Black Panther of hip-hop,” \u003ca href=\"https://www.guerrillafunk.com/paris\">Paris\u003c/a>; poet and educator \u003ca href=\"https://www.instagram.com/mrdavis510/?hl=en\">Hodari Davis\u003c/a>; and \u003ca href=\"https://www.instagram.com/phestohierosoul/?hl=en\">Phesto Dee\u003c/a> of Souls of Mischief.\u003c/p>\n\u003cp>https://youtu.be/uMqQgf__apQ\u003c/p>\n\u003cp>Jahi himself comes from the activist, alternative corner of hip-hop — what he refers to as the “socially conscious, mostly profanity-free, life-affirming lane.” He’s called Oakland home for 24 years, but he grew up DJing and freestyling in East Cleveland in the early ’80s. It was a turbulent time in American history, with the crack epidemic and rise of mass incarceration, and hip-hop offered him a sense of belonging and an artistic outlet. “All the rappers had perfect attendance, because we was always at school 30 minutes before school opened so we could battle,” says Jahi.\u003c/p>\n\u003cp>Jahi’s path into music was somewhat unconventional: He had a successful career at an educational nonprofit before embarking on a professional music career at 28 years old, in the late ’90s. Public Enemy’s Chuck D and KRS One gave him some of his first big opportunities, which led to a major-label album and a successful stint in Europe. He later founded the production company Microphone Mechanics, which has been his springboard into museum exhibitions, theater and, now, the archives.\u003c/p>\n\u003cp>Jahi has an inclusive vision of hip-hop, and isn’t about creating a dichotomy of street-versus-conscious, mainstream-versus-underground — nor is he into shaming or excluding practitioners of the art form who are different from him. Instead, he wants to celebrate the many styles and philosophies, the collective efforts, that have made the culture such a potent form of expression. “Hip-hop is a house with many rooms, and we’ve been in the sex, drugs, violence, pimp, hustler room,” he says. “It’s not the whole house.”\u003c/p>\n\u003cp>At the unveiling of the Bay Area Hip-Hop Archives in February, artists spoke of unity and pride. “We built this community,” said Mystic. “We built this when we had no models. We created magazines, we produced albums, we threw events. We created what the dream needed to be, and it was grounded in the radically loving and socially political foundation that is Oakland.” [aside postid='arts_13906176']\u003c/p>\n\u003cp>“Everybody likes to make us believe, especially as Black people, that our history is kind of happenstance. You know, Martin just kind of wrote a speech, and Malcolm just showed up,” said Davey D. “And that makes for a good story, it makes it sound like these individuals were superhuman, when in fact they put in a lot of work. They were very intentional, they were in the pocket, they thought about things. Even in hip-hop.”\u003c/p>\n\u003cp>As the mic was passed around, other inductees spoke of their hopes for the next 50 years of hip-hop culture as calls of “ashe” resounded throughout AAMLO’s high-ceilinged, marbled halls. “For the level of murder and violence that exists in our streets, what are we saying with this culture?” asked Refa One. “Is it more healing and food, or is it toxic? Because it could be either one. … It could be a weapon to liberate us, or one to put our people down. … It’s got to have that knowledge element. That fifth element is key.” [aside postid='arts_13923978']\u003c/p>\n\u003cp>For his part, Jahi has ambitious plans to invest in that fifth element. After the next group of Bay Area Hip-Hop Archives inductees are announced on Juneteenth, he’s planning on hosting Friday nights at OMCA throughout the month of August, curating talks, performances and screenings for hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>DJ Kool Herc’s foundational 1973 party was a back-to-school event. So in that spirit, AAMLO’s Aug. 11 block party will be a family-friendly affair hosted by \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">Dominique DiPrima\u003c/a>, with school supply giveaways, music by DJs Davey D, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black\u003c/a> and True Justice and an appearance from 12-year-old race car driver Cam-Man Races. The second class of the Archives will be formally inducted, and select items from the collections will be on view, with more to come next year.\u003c/p>\n\u003cp>And, of course, Jahi is busy documenting items and stories for the Bay Area Hip-Hop Archives, which he anticipates will be fully up and running in person and online in two to five years. He’s moving with intention, and already coming up with a succession plan and fundraising structure to keep the archives sustainable for generations to come.\u003c/p>\n\u003cp>“So a Black child that looks like me, that comes from the hood, can know that without anything other than sheer determination, you can make something happen,” Jahi says. “That’s what this legacy work is also about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Upcoming Events\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bay Area Hip-Hop Archives’ \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator night\u003c/a> takes place at the African American Museum and Library at Oakland on May 19, 5-7 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jahi curates \u003ca href=\"https://museumca.org/about-friday-nights-at-omca-with-off-the-grid/?utm_campaign=OMCA+friday&utm_source=g&utm_medium=g&utm_campaignid=17402932715&utm_adgroupid=143053530931&utm_adid=601813286558&utm_placement=g&utm_agency=gupta&gclid=CjwKCAjw04yjBhApEiwAJcvNoeLJe-Tq8pu1hXdxKKrMNMwIdyAT1TnduoOrcc2dy-Osklytg0t1rhoCP3QQAvD_BwE\">Friday Nights at the Oakland Museum of California\u003c/a> throughout the month of August. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features DJ sets by Jahi and Davey D, a meet-and-greet with race-car driver Cameron “Cam-Man” Carraway, a turfing dance class with Telice and an induction ceremony for the Bay Area Hip-Hop Archives. Destiny Muhammad plays Bay Area hip-hop on jazz harp on Aug. 18; and programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beatmaking activities led by Seti X of June Jordan School for Equity. KQED’s \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">If Cities Could Dance\u003c/a> series will screen on Aug. 4 and 11, and our video podcast \u003ca href=\"https://www.kqed.org/whatspimpin\">What’s Pimpin’?\u003c/a> screens on Aug. 18 and 25. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Housed at AAMLO, the archive gears up for its next inductee class — and a summer of musical events.","status":"publish","parent":0,"modified":1705005491,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1826},"headData":{"title":"At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art | KQED","description":"Housed at AAMLO, the archive gears up for its next inductee class — and a summer of musical events.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art","datePublished":"2023-05-17T16:00:47.000Z","dateModified":"2024-01-11T20:38:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"That's My Word","sourceUrl":"/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>The uneven power dynamics in hip-hop — and the music industry in general — are no secret: Mostly white executives enrich themselves from Black ingenuity, invest in the salacious and the sensational, and ignore the true diversity of the culture. That’s why, on a January Zoom call with the inaugural inductee class of the \u003ca href=\"https://microphonemechanics.com/bay-area-hip-hop-archives\">Bay Area Hip-Hop Archives\u003c/a>, Jahi implored: “Don’t leave your legacy to chance.”\u003c/p>\n\u003cp>Those in the virtual room included well-known figures like \u003ca href=\"https://www.instagram.com/suga_t_/\">Suga T\u003c/a> and \u003ca href=\"https://djdsharp.co/\">DJ D Sharp\u003c/a> of the Golden State Warriors. There was also \u003ca href=\"https://thembisamshaka.com/\">Thembisa Mshaka\u003c/a>, former editor of the influential industry magazine \u003ci>Gavin Report\u003c/i>; Helen Warren, mother of the late, great turntablist Pam the Funkstress; Black Panther-descended aerosol artist \u003ca href=\"http://www.refa1.com/\">Refa One\u003c/a>; rapper-turned-elementary educator \u003ca href=\"https://mysticworldwide.com/\">Mystic\u003c/a>; and others connected to hip-hop’s revolutionary core, who’ve helped build the culture in the Bay from the ground up. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For archive curator Jahi, the time is right to preserve the Bay Area’s impact on hip-hop culture, which celebrates its 50th anniversary on Aug. 11, the day of \u003ca href=\"https://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party\">DJ Kool Herc’s fateful 1973 Bronx block party\u003c/a>. Not to mention that, in recent years, the Bay Area has seen the untimely passing of numerous hip-hop greats in their 40s and 50s. The loss of \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam the Funkstress\u003c/a>, Digital Underground frontman \u003ca href=\"https://www.kqed.org/arts/13896288/remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap\">Shock G\u003c/a>, Zion I’s \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi\u003c/a> and Blackalicious’ \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab\u003c/a> sent shockwaves of grief throughout the Bay Area. For Jahi’s generation, time is precious, and the creators of the culture feel an imperative to leave a record for posterity.\u003c/p>\n\u003cp>“When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop,” says Jahi with reverence. “And in 50 years, look what we’ve created.”\u003c/p>\n\u003cfigure id=\"attachment_13929194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg\" alt=\"Jahi wears a fedora and black suit while giving a speech on stage. \" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Hip-Hop Archives curator Jahi had a successful career as an MC before foraying into exhibitions, theater and legacy work. \u003ccite>(Courtesy of Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, hip-hop is now a multi-billion dollar industry with influence on Wall Street, the \u003ca href=\"https://www.paris2024.org/en/sport/breaking/\">2024 Olympics\u003c/a> and beyond. But it still remains a Black, working-class, grassroots culture that empowers, heals and politically mobilizes, an aspect that was front of mind for Jahi as he planned the archive, which is housed at the \u003ca href=\"https://oaklandlibrary.org/aamlo/\">African American Museum and Library at Oakland\u003c/a> (AAMLO).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since inducting the first Bay Area Hip-Hop Archives class of 15 honorees during Black History Month, Jahi has gathered 1,000 artifacts and counting from their personal collections, some of which will be on view at AAMLO’s Aug. 11 block party celebrating hip-hop’s 50th anniversary, with another viewing to come in February 2024. Concert flyers, setlists, photos, audio and video interviews are getting the “white-glove” museum treatment for future fans, artists and scholars to explore. Jahi is also hosting a \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator Night\u003c/a> with music and discussion at AAMLO on May 19, and is gearing up to announce the next 40 honorees on Juneteenth next month. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop. And in 50 years, look what we’ve created.’","name":"pullquote","attributes":{"named":{"size":"large","citation":"Jahi, Bay Area Hip-Hop Archives curator","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To create the archive, Jahi sought out a partnership with a Black-led institution, and he found the right collaborator in AAMLO and its Chief Curator Bamidele Agbasegbe-Demerson. Prior to the Bay Area Hip-Hop Archives’ launch, AAMLO already had close to 12,000 artifacts and documents chronicling Black life in Northern California, from the Gold Rush to the Black Panther Party. “So we’re joining their community,” Jahi says. “And when we’re done, we’ll probably have about ten or 12,000 pieces from the Bay Area Hip-Hop Archives. It’s a level up — in terms of preservation, protection and, most importantly, the opportunity for artists to tell their story in their own voices so they are not erased.”\u003c/p>\n\u003cp>Beyond artists, the Bay Area Hip-Hop Archives honors people who’ve played a crucial role in facilitating the local scene, such as promoter \u003ca href=\"https://ankhmarketing.com/\">Ankh Marketing\u003c/a>, which has produced community events and big-name concerts with Goapele and Erykah Badu alike, and \u003ca href=\"https://youtu.be/lkadOO6UuR0\">the Upper Room\u003c/a>, a substance-free gathering space for the San Francisco spoken word and alternative hip-hop scenes of the ’90s. Other inductees include MC and queer party producer \u003ca href=\"https://www.instagram.com/aimathedrmr/?hl=en\">Aima the Dreamer\u003c/a>; journalist, scholar and DJ \u003ca href=\"https://daveyd.com/\">Davey D\u003c/a> (who serves as an advisor on KQED’s \u003cem>That’s My Word\u003c/em>); dance historian and photographer \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>; \u003ca href=\"https://www.instagram.com/realdjkevykev/?hl=en\">DJ Kevy Kev\u003c/a>; the “Black Panther of hip-hop,” \u003ca href=\"https://www.guerrillafunk.com/paris\">Paris\u003c/a>; poet and educator \u003ca href=\"https://www.instagram.com/mrdavis510/?hl=en\">Hodari Davis\u003c/a>; and \u003ca href=\"https://www.instagram.com/phestohierosoul/?hl=en\">Phesto Dee\u003c/a> of Souls of Mischief.\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/uMqQgf__apQ'\n title='//www.youtube.com/embed/uMqQgf__apQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jahi himself comes from the activist, alternative corner of hip-hop — what he refers to as the “socially conscious, mostly profanity-free, life-affirming lane.” He’s called Oakland home for 24 years, but he grew up DJing and freestyling in East Cleveland in the early ’80s. It was a turbulent time in American history, with the crack epidemic and rise of mass incarceration, and hip-hop offered him a sense of belonging and an artistic outlet. “All the rappers had perfect attendance, because we was always at school 30 minutes before school opened so we could battle,” says Jahi.\u003c/p>\n\u003cp>Jahi’s path into music was somewhat unconventional: He had a successful career at an educational nonprofit before embarking on a professional music career at 28 years old, in the late ’90s. Public Enemy’s Chuck D and KRS One gave him some of his first big opportunities, which led to a major-label album and a successful stint in Europe. He later founded the production company Microphone Mechanics, which has been his springboard into museum exhibitions, theater and, now, the archives.\u003c/p>\n\u003cp>Jahi has an inclusive vision of hip-hop, and isn’t about creating a dichotomy of street-versus-conscious, mainstream-versus-underground — nor is he into shaming or excluding practitioners of the art form who are different from him. Instead, he wants to celebrate the many styles and philosophies, the collective efforts, that have made the culture such a potent form of expression. “Hip-hop is a house with many rooms, and we’ve been in the sex, drugs, violence, pimp, hustler room,” he says. “It’s not the whole house.”\u003c/p>\n\u003cp>At the unveiling of the Bay Area Hip-Hop Archives in February, artists spoke of unity and pride. “We built this community,” said Mystic. “We built this when we had no models. We created magazines, we produced albums, we threw events. We created what the dream needed to be, and it was grounded in the radically loving and socially political foundation that is Oakland.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906176","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everybody likes to make us believe, especially as Black people, that our history is kind of happenstance. You know, Martin just kind of wrote a speech, and Malcolm just showed up,” said Davey D. “And that makes for a good story, it makes it sound like these individuals were superhuman, when in fact they put in a lot of work. They were very intentional, they were in the pocket, they thought about things. Even in hip-hop.”\u003c/p>\n\u003cp>As the mic was passed around, other inductees spoke of their hopes for the next 50 years of hip-hop culture as calls of “ashe” resounded throughout AAMLO’s high-ceilinged, marbled halls. “For the level of murder and violence that exists in our streets, what are we saying with this culture?” asked Refa One. “Is it more healing and food, or is it toxic? Because it could be either one. … It could be a weapon to liberate us, or one to put our people down. … It’s got to have that knowledge element. That fifth element is key.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923978","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For his part, Jahi has ambitious plans to invest in that fifth element. After the next group of Bay Area Hip-Hop Archives inductees are announced on Juneteenth, he’s planning on hosting Friday nights at OMCA throughout the month of August, curating talks, performances and screenings for hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>DJ Kool Herc’s foundational 1973 party was a back-to-school event. So in that spirit, AAMLO’s Aug. 11 block party will be a family-friendly affair hosted by \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">Dominique DiPrima\u003c/a>, with school supply giveaways, music by DJs Davey D, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black\u003c/a> and True Justice and an appearance from 12-year-old race car driver Cam-Man Races. The second class of the Archives will be formally inducted, and select items from the collections will be on view, with more to come next year.\u003c/p>\n\u003cp>And, of course, Jahi is busy documenting items and stories for the Bay Area Hip-Hop Archives, which he anticipates will be fully up and running in person and online in two to five years. He’s moving with intention, and already coming up with a succession plan and fundraising structure to keep the archives sustainable for generations to come.\u003c/p>\n\u003cp>“So a Black child that looks like me, that comes from the hood, can know that without anything other than sheer determination, you can make something happen,” Jahi says. “That’s what this legacy work is also about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Upcoming Events\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bay Area Hip-Hop Archives’ \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator night\u003c/a> takes place at the African American Museum and Library at Oakland on May 19, 5-7 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jahi curates \u003ca href=\"https://museumca.org/about-friday-nights-at-omca-with-off-the-grid/?utm_campaign=OMCA+friday&utm_source=g&utm_medium=g&utm_campaignid=17402932715&utm_adgroupid=143053530931&utm_adid=601813286558&utm_placement=g&utm_agency=gupta&gclid=CjwKCAjw04yjBhApEiwAJcvNoeLJe-Tq8pu1hXdxKKrMNMwIdyAT1TnduoOrcc2dy-Osklytg0t1rhoCP3QQAvD_BwE\">Friday Nights at the Oakland Museum of California\u003c/a> throughout the month of August. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features DJ sets by Jahi and Davey D, a meet-and-greet with race-car driver Cameron “Cam-Man” Carraway, a turfing dance class with Telice and an induction ceremony for the Bay Area Hip-Hop Archives. Destiny Muhammad plays Bay Area hip-hop on jazz harp on Aug. 18; and programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beatmaking activities led by Seti X of June Jordan School for Equity. KQED’s \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">If Cities Could Dance\u003c/a> series will screen on Aug. 4 and 11, and our video podcast \u003ca href=\"https://www.kqed.org/whatspimpin\">What’s Pimpin’?\u003c/a> screens on Aug. 18 and 25. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_7711","arts_10342","arts_10278","arts_903","arts_831","arts_3477","arts_1143","arts_19347"],"featImg":"arts_13929202","label":"source_arts_13929183"},"arts_13925077":{"type":"posts","id":"arts_13925077","meta":{"index":"posts_1591205157","site":"arts","id":"13925077","score":null,"sort":[1676336556000]},"guestAuthors":[],"slug":"mystic-additional-love-black-history-month","title":"Why Hip-Hop Artist Mystic is Devoting February to Revolutionary Love","publishDate":1676336556,"format":"aside","headTitle":"Why Hip-Hop Artist Mystic is Devoting February to Revolutionary Love | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This month, hip-hop artist, educator and activist Mystic is making playlists, hosting discussions and dropping verses about the power of love. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland hip-hop artist \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener\">Mystic\u003c/a> is a deep thinker about many issues — the environment, social justice and healing.\u003c/p>\n\u003cp>But connecting her activism, education work and art is love.\u003c/p>\n\u003cp>“Love is revolutionary,” said the Grammy-nominated artist and Oxford-educated community activist. “The only way that I believe that we can move forward is as a collective and grounded in love.”\u003c/p>\n\u003cp>So as folks are likely thinking more about this on Valentine’s Day, Mystic has been running a programming series called Additional Love Month, and tying this in with what she calls Additional Black History Month in February.\u003c/p>\n\u003cp>“The world is in need of more love, and I want to help with that,” she said on \u003ca href=\"https://www.instagram.com/reel/CoIRS6WDBRN/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In trying to uplift and celebrate love in all its forms, Mystic has been \u003ca href=\"https://www.instagram.com/p/CoVeo72obV-/\" target=\"_blank\" rel=\"noopener\">hosting discussions\u003c/a>, and posting love notes and verse performances of her own songs on Instagram. She has also been \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">curating a playlist\u003c/a> with contributions from her family, friends and collaborators.\u003c/p>\n\u003cp>She talked more about this with KQED morning host Brian Watt. [aside postid='arts_13906176']\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>BRIAN WATT:\u003c/strong> This celebration of Additional Love Month is inspired in part by your latest work, which draws on the writings of bell hooks. Tell me more about that.\u003c/p>\n\u003cp>\u003cstrong>MYSTIC:\u003c/strong> [My album] \u003cem>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/em> is what I call my healed Black woman music. When I first started creating hip-hop, when I was 16, I was, what I call, a broken Black girl, having experienced sexual assault and just the kind of in and outs of daily life in the ’90s in Oakland. With this album, I was really intentional about wanting to create art and sound and visuals that are about affirmation, that are about love.\u003c/p>\n\u003cp>And so bell hooks, in her book \u003cem>All About Love\u003c/em>, which I encourage everyone to read multiple times across our lifetimes, it’s deeply striking to me because she’s exploring and examining love in a variety of different contexts, using her personal experiences, but also focusing on community, spirituality, on the connections between us. And even in the first chapter on clarity, she’s talking about our need to collectively define what does love mean. Love is nurturing and care, and it is in opposition to harm and to exploitation.\u003c/p>\n\u003cp>https://youtu.be/oOWb6An8pXg\u003c/p>\n\u003cp>\u003cstrong>My producer told me you almost called the album \u003cem>Love Songs\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>I wanted to call it that because every single song on the album is a love song, and whether it’s romantic or [like] in the song, “Here Alive,” I start off talking to young people and children around the world who may be living in slums, who are living lives in which we are often not valorized as people of color. And then I go on to speak to men and folks who are incarcerated, and then I go on and speak to my sisters and to women who have been oppressed and violated in the world.\u003c/p>\n\u003cp>But in saying “Here, Alive,” we need you here, alive, keep pushing on, it’s about that love that collectively we can move through this world in love with each other.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3117910548/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>So what is it about the experience of writing love songs?\u003c/strong>\u003c/p>\n\u003cp>I don’t think about them necessarily as far as love songs. They’re all love songs, right? But depending on what I’m writing, I’m not necessarily sitting down and going, okay, I’m going to write a romantic love song right now, or I’m going to write a love song for children or for the planet. And very often, as you said, these things are kind of mixed together in one piece of one piece of art. But, you know, I listen to the music, the production, and what does the music touch in my heart and in my spirit that opens up that story within me that needs to be told.\u003c/p>\n\u003cp>\u003cstrong>You grew up in Oakland. You live there now. What has the city taught you about love and how has it influenced your music?\u003c/strong>\u003c/p>\n\u003cp>My mother moved me to Oakland [in] ninth grade, summer. I was exposed to this really profound depth of sociopolitical thought that is a running thread in the community of Oakland, where the Black Panthers and others took it upon themselves to try to feed our communities and liberate our people and liberate our communities. That’s love. Love is liberation, right?\u003c/p>\n\u003cp>Oakland taught me what it means to be devoted to your community, to be devoted to the alliances that can be made across physical borders of neighborhoods and ethnicities and races, and that we can be together. And there’s this feeling in Oakland, too, because so many families migrated from the South that is kind of like this relaxed, soothing place to be with this thriving, thriving life. And so it just it continues to inspire me everyday because there’s also such deep inequality.\u003c/p>\n\u003cp>It was also a beautiful time in hip-hop in Oakland. We were creating culture. At this time, we’ve got Souls of Mischief, we’ve got E-40 and The Click, and independent labels. A-plus from Souls of Mischief, his mom lived across the street from my mom, so I got to come up with Hieroglyphics and learn to freestyle with them. [aside postid='arts_13923938']\u003c/p>\n\u003cp>At that time in my life, art saved my life.\u003c/p>\n\u003cp>\u003cstrong>You have also asked people to give you suggestions on love songs as part of your \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">Additional Love Month playlist\u003c/a>. What are some of the tracks that stand out to you?\u003c/strong>\u003c/p>\n\u003cp>I got sent some Beethoven. I got sent a lot of Sade “Cherish the Day.” But the range! It’s jazz, it’s country, it’s classical, it’s hip-hop, it’s soul. I’ve been really surprised by who sent me what — like hip-hop artists sent me country songs.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Questlove sent me over some playlists that I could pull songs from. My momma, my cousin, my brother, all of those folks added in the songs as well. So I’m delighted. And just like Additional Love Month is going to be every month of February from this year going forward. I will do one of these collective playlists every year.\u003c/p>\n\n","blocks":[],"excerpt":"To celebrate the healing power of love, she's hosting discussions, dropping verses and curating playlists.","status":"publish","parent":0,"modified":1705005850,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3117910548/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1120},"headData":{"title":"Why Hip-Hop Artist Mystic is Devoting February to Revolutionary Love | KQED","description":"To celebrate the healing power of love, she's hosting discussions, dropping verses and curating playlists.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Why Hip-Hop Artist Mystic is Devoting February to Revolutionary Love","datePublished":"2023-02-14T01:02:36.000Z","dateModified":"2024-01-11T20:44:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/8cc0681a-6e3f-441a-b67e-afa901414633/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13925077/mystic-additional-love-black-history-month","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This month, hip-hop artist, educator and activist Mystic is making playlists, hosting discussions and dropping verses about the power of love. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland hip-hop artist \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener\">Mystic\u003c/a> is a deep thinker about many issues — the environment, social justice and healing.\u003c/p>\n\u003cp>But connecting her activism, education work and art is love.\u003c/p>\n\u003cp>“Love is revolutionary,” said the Grammy-nominated artist and Oxford-educated community activist. “The only way that I believe that we can move forward is as a collective and grounded in love.”\u003c/p>\n\u003cp>So as folks are likely thinking more about this on Valentine’s Day, Mystic has been running a programming series called Additional Love Month, and tying this in with what she calls Additional Black History Month in February.\u003c/p>\n\u003cp>“The world is in need of more love, and I want to help with that,” she said on \u003ca href=\"https://www.instagram.com/reel/CoIRS6WDBRN/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In trying to uplift and celebrate love in all its forms, Mystic has been \u003ca href=\"https://www.instagram.com/p/CoVeo72obV-/\" target=\"_blank\" rel=\"noopener\">hosting discussions\u003c/a>, and posting love notes and verse performances of her own songs on Instagram. She has also been \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">curating a playlist\u003c/a> with contributions from her family, friends and collaborators.\u003c/p>\n\u003cp>She talked more about this with KQED morning host Brian Watt. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906176","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>BRIAN WATT:\u003c/strong> This celebration of Additional Love Month is inspired in part by your latest work, which draws on the writings of bell hooks. Tell me more about that.\u003c/p>\n\u003cp>\u003cstrong>MYSTIC:\u003c/strong> [My album] \u003cem>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/em> is what I call my healed Black woman music. When I first started creating hip-hop, when I was 16, I was, what I call, a broken Black girl, having experienced sexual assault and just the kind of in and outs of daily life in the ’90s in Oakland. With this album, I was really intentional about wanting to create art and sound and visuals that are about affirmation, that are about love.\u003c/p>\n\u003cp>And so bell hooks, in her book \u003cem>All About Love\u003c/em>, which I encourage everyone to read multiple times across our lifetimes, it’s deeply striking to me because she’s exploring and examining love in a variety of different contexts, using her personal experiences, but also focusing on community, spirituality, on the connections between us. And even in the first chapter on clarity, she’s talking about our need to collectively define what does love mean. Love is nurturing and care, and it is in opposition to harm and to exploitation.\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/oOWb6An8pXg'\n title='//www.youtube.com/embed/oOWb6An8pXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>My producer told me you almost called the album \u003cem>Love Songs\u003c/em>.\u003c/strong>\u003c/p>\n\u003cp>I wanted to call it that because every single song on the album is a love song, and whether it’s romantic or [like] in the song, “Here Alive,” I start off talking to young people and children around the world who may be living in slums, who are living lives in which we are often not valorized as people of color. And then I go on to speak to men and folks who are incarcerated, and then I go on and speak to my sisters and to women who have been oppressed and violated in the world.\u003c/p>\n\u003cp>But in saying “Here, Alive,” we need you here, alive, keep pushing on, it’s about that love that collectively we can move through this world in love with each other.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=3117910548/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>So what is it about the experience of writing love songs?\u003c/strong>\u003c/p>\n\u003cp>I don’t think about them necessarily as far as love songs. They’re all love songs, right? But depending on what I’m writing, I’m not necessarily sitting down and going, okay, I’m going to write a romantic love song right now, or I’m going to write a love song for children or for the planet. And very often, as you said, these things are kind of mixed together in one piece of one piece of art. But, you know, I listen to the music, the production, and what does the music touch in my heart and in my spirit that opens up that story within me that needs to be told.\u003c/p>\n\u003cp>\u003cstrong>You grew up in Oakland. You live there now. What has the city taught you about love and how has it influenced your music?\u003c/strong>\u003c/p>\n\u003cp>My mother moved me to Oakland [in] ninth grade, summer. I was exposed to this really profound depth of sociopolitical thought that is a running thread in the community of Oakland, where the Black Panthers and others took it upon themselves to try to feed our communities and liberate our people and liberate our communities. That’s love. Love is liberation, right?\u003c/p>\n\u003cp>Oakland taught me what it means to be devoted to your community, to be devoted to the alliances that can be made across physical borders of neighborhoods and ethnicities and races, and that we can be together. And there’s this feeling in Oakland, too, because so many families migrated from the South that is kind of like this relaxed, soothing place to be with this thriving, thriving life. And so it just it continues to inspire me everyday because there’s also such deep inequality.\u003c/p>\n\u003cp>It was also a beautiful time in hip-hop in Oakland. We were creating culture. At this time, we’ve got Souls of Mischief, we’ve got E-40 and The Click, and independent labels. A-plus from Souls of Mischief, his mom lived across the street from my mom, so I got to come up with Hieroglyphics and learn to freestyle with them. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At that time in my life, art saved my life.\u003c/p>\n\u003cp>\u003cstrong>You have also asked people to give you suggestions on love songs as part of your \u003ca href=\"https://open.spotify.com/playlist/0HukqjZNH1u8qhry063lsS?si=7NhOuP3wRT2VhPf80eI80w&nd=1\" target=\"_blank\" rel=\"noopener\">Additional Love Month playlist\u003c/a>. What are some of the tracks that stand out to you?\u003c/strong>\u003c/p>\n\u003cp>I got sent some Beethoven. I got sent a lot of Sade “Cherish the Day.” But the range! It’s jazz, it’s country, it’s classical, it’s hip-hop, it’s soul. I’ve been really surprised by who sent me what — like hip-hop artists sent me country songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Questlove sent me over some playlists that I could pull songs from. My momma, my cousin, my brother, all of those folks added in the songs as well. So I’m delighted. And just like Additional Love Month is going to be every month of February from this year going forward. I will do one of these collective playlists every year.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13925077/mystic-additional-love-black-history-month","authors":["11238","11724"],"categories":["arts_69"],"tags":["arts_4096","arts_10278","arts_3931","arts_3477","arts_3923"],"featImg":"arts_13906481","label":"arts"},"arts_13922511":{"type":"posts","id":"arts_13922511","meta":{"index":"posts_1591205157","site":"arts","id":"13922511","score":null,"sort":[1670539313000]},"guestAuthors":[],"slug":"the-20-best-bay-area-albums-of-2022","title":"The 20 Best Bay Area Albums of 2022","publishDate":1670539313,"format":"standard","headTitle":"The 20 Best Bay Area Albums of 2022 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Though the music industry has been \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">incredibly challenging for independent artists\u003c/a> since the start of the pandemic, the Bay Area brought it in 2022. Throughout the year, veteran artists and newcomers alike set new bars for ingenuity and excellence. They invited us to have fun and get inspired, but they also offered opportunities for catharsis, for processing global events and personal challenges.\u003c/p>\n\u003cp>Without further ado, these are KQED Arts & Culture’s favorite albums of the year, in no particular order. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2KvfsMy0IQ2XRd5Rh7Ur2Q?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Zyah Belle, \u003cem>Yam Grier\u003c/em> (Guin Records)\u003c/h2>\n\u003cp>Zyah Belle has range. On her most confident album yet, the Vallejo-raised singer delves into the many emotional shades of love, using them as a catalyst for growth and self-mastery. On the opening track, “Ready Or Not,” Belle arrives, heart bursting, approaching a new love as if it were a magical gateway to another realm. Her silky mezzo-soprano voice, honed in church choir, makes her rapture contagious. But passions cool on “Holding On,” a low-key disco track with lyrics about not wanting to accept that a relationship is past its expiration date.\u003c/p>\n\u003cp>We see Belle embrace her sexuality on “Back to Back,” a smoldering duet with Jordan Hawkins, where the singers yearn for a hookup too good not to pursue. And with standout track “Cold Blooded,” Belle shifts beyond pretty and embodies a darker persona — one who learned the game from Too $hort, who gets name-dropped in the track. The minimalist guitar strum of “Healing” offers a tender moment of reprieve, offering affirmations for anyone recovering from a setback. A solid companion piece to grown-woman R&B albums like Jazmine Sullivan’s \u003cem>Heaux Tales\u003c/em> and Ari Lennox’s \u003cem>Shea Butter Baby\u003c/em>, Belle’s \u003cem>Yam Grier\u003c/em> is emotionally honest, and full of sumptuous textures and smart storytelling. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5E5phS3ZeUFwzrDMqqQiwx?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mistah F.A.B., \u003cem>Black Designer\u003c/em> (Faeva Afta)\u003c/h2>\n\u003cp>It doesn’t take long for Oakland rapper Mistah F.A.B. to articulate why \u003cem>Black Designer\u003c/em> is being called his “mature” album: just 22 seconds into its eponymous kickoff track, he raps, “Busy as hell but always answer when my daughter calls / Present when my son took his first steps.” Other song titles reference Black cultural icons — among them Duke Ellington, Dorothy Dandridge, Mansa Musa, and W.E.B. Du Bois. “George Washington Carver” could have easily been titled “Flower Shop” — it’s more about props than crops — but artistic license appears to be a by-product of F.A.B. owning his own masters.\u003c/p>\n\u003cp>F.A.B. has added adulting to a skillset that already included evocative imagery and nimble, punchline-laden flows. High-flying tales of lavish international trips fluidly contrast with socially conscious and inspirational messages: “I grew up poor, who ashamed of that? Not me / It’s just evidence that can’t nothing in life stop me,” he raps. \u003cem>Black Designer\u003c/em>’s 22 tracks, spanning over 80 minutes, run lyrical circles around 95% of rappers alive. Though rooted in boastfulness, the use of patterns, alliteration, slang and metaphors overflow with creative mojo and a newfound sense of purpose. The album eschews trap or drill beats, instead offering up lush beds of jazzy, soulful loops more consistent with hip-hop’s history than its present state. The result is one of the best Bay Area hip-hop albums in recent memory, one that knows the world is bigger than the block. \u003cem>—\u003c/em>\u003cem> Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DTVVsFW3Jhi4Jw8flTAGR?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rexx Life Raj, \u003cem>The Blue Hour\u003c/em> (Rexx Life/EMPIRE)\u003c/h2>\n\u003cp>After the recent passing of his mother and father, Berkeley’s Rexx Life Raj took time to pour his pain into a work of art, \u003cem>The Blue Hour\u003c/em>.\u003c/p>\n\u003cp>The 12-track album, named after the time of the day just before dawn, takes listeners through some of the darkest moments in Raj’s life. And still, between intimate details of grief, he finds space to slide in slices of levity, clever lyrics and a player lifestyle.\u003c/p>\n\u003cp>“Beauty in The Madness,” featuring Wale and Fireboy DML, is a club-ready track for those who like to dance. “Scared Money” is a raw display of real rapper bars over a beat that’s an audible punch in the face. “Jerry Curl,” featuring Larry June, is the soundtrack to smoke and ride to.\u003c/p>\n\u003cp>But it’s the song “Save Yourself” that’s arguably the most important song to come out of the region this year. Raj opens his first verse by rapping, “When I was down bad / Looked in the mirror and realized I was all that I had / Had fam and the gang is the landing pad / But if I don’t steer the plane, then it’ll still crash.”\u003c/p>\n\u003cp>He delivers a Sunday morning sermon about self-reliance while riding a bass-heavy beat. It taps directly into the cerebral cortex and pushes listeners to enter a transcendent state where pain and love merge in this thing we know as music.\u003c/p>\n\u003cp>It’s art at its highest form.\u003c/p>\n\u003cp>To mourn in public is to show the world your full humanity. To create art and invite others to share in the grieving process pushes all of us to be more fully human. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4C87UAmhJ3nhATyp9nCI4i?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fantastic Negrito, \u003cem>White Jesus Black Problems\u003c/em> (Storefront Records)\u003c/h2>\n\u003cp>Liberated from the show-business pressures he encountered in the 1990s, when he was a young R&B singer with a major-label deal, Oakland’s Fantastic Negrito has earned a national following in recent years. The inaugural winner of NPR’s Tiny Desk Contest, and a three-time Grammy winner for Best Contemporary Blues Album, he’s emphasized honesty and a pursuit of self that honors his roots.\u003c/p>\n\u003cp>On Fantastic Negrito’s latest album, \u003cem>White Jesus Black Problems\u003c/em>, the angelically psychedelic chorus of opening track “Venomous Dogma” enraptures you and doesn’t let go. Another track, “You Don’t Belong Here,” is a sound-rich window into the realities of oppression and otherness.\u003c/p>\n\u003cp>Fantastic Negrito released \u003cem>White Jesus Black Problems\u003c/em> with a \u003ca href=\"https://www.youtube.com/watch?v=BGOBdCscvgo\" target=\"_blank\" rel=\"noopener noreferrer\">short film of the same title\u003c/a>. As he narrates in the introduction, it’s “a love story” — one that he lays bare on “Virginia Soil,” the last track on the album. It situates the listener in Oakland and Virginia at the same time, and honors Fantastic Negrito’s 18th-century ancestors. His white Scottish grandmother, Gallamore, and his enslaved African American grandfather — whom Negrito calls Courage — lived in defiance of the racist social order of their time. “Freedom will come,” Fantastic Negrito sings triumphantly on the track. As listeners, we’re better for his prophetic nudges towards liberty. \u003cem>— Camilo Garzón\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3iIQrRl8NG7AgSJlStJdQw?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>mxmtoon, \u003cem>rising\u003c/em> (AWAL Recordings America)\u003c/h2>\n\u003cp>When Maia — known as mxmtoon — was 17, she wrote “prom dress,” a sad yet upbeat anthem for lost teenagers overwhelmed by doubt and confusion. Now, four years later, the Oakland-born singer-songwriter reflects on how life has changed and her evolution in her latest album, \u003cem>rising\u003c/em>.\u003c/p>\n\u003cp>Like much of mxmtoon’s discography, \u003cem>rising\u003c/em> features tender, heartfelt lyrics and dreamy pop instrumentals delivered with high, soft vocals. Many songs on the album tackle aging, nostalgia, the pressures of societal expectations and what it means to look forward as you let go of your younger self. In “victim of nostalgia,” a track fit for a coming-of-age film, mxmtoon sings: “It’s the panic of growing up / It’s the fear of fallin’ down,” illustrating her unsteadiness as she enters her early 20s.\u003c/p>\n\u003cp>But this doubt is balanced by songs like “kaleidoscope,” where she accepts that the chaos the unknown is where she can truly grow. “Count all of my colors, but you’ll never know,” she sings, boldly accepting that this new era she enters is one of many to come. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2855467910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Toro Y Moi, \u003cem>Mahal\u003c/em> (Dead Oceans)\u003c/h2>\n\u003cp>Every single one of my teenage years was spent in the 1990s. While a lot of people look back on their formative years and cringe, I never have. I loved everything about that decade — the fashion, the music, the creative communities, the attitude. The current ’90s revival then, has been filling me with joy all year — and Toro Y Moi’s chillwave has proven to be the perfect soundtrack.\u003c/p>\n\u003cp>On \u003cem>Mahal\u003c/em>, the Oakland artist and producer (real name: Chaz Bear) mashes a plethora of ’90s trends seamlessly into one expansive, alluring mirage. Combining dreamy soundscapes, fuzzy indie-rock guitars, hip-hop beats (that occasionally nod in the direction of drum and bass) and the same ’70s funk sensibilities we embraced in the ’90s, Toro Y Moi is so retro, he’s entirely of the moment.\u003c/p>\n\u003cp>To me, \u003cem>Mahal\u003c/em> sounds like seven people smoking weed in a tiny dorm room, backpacks and skateboards piled up in the corner. It sounds like making out under the stars on the walk home. It sounds like dancing with your friends in a sweaty basement. It sounds like living, and it’s beautiful. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3I7zgqesHxrk9YQ5ZrHz3v?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Tales of the Town\u003c/em> (Tales of the Town)\u003c/h2>\n\u003cp>It’s been a tremendously exciting year for Bay Area rap and R&B, and \u003cem>Tales of the Town\u003c/em> is the natural culmination. With a who’s-who of the region’s rich talent (including Guap, ShooterGang Kony, G-Eazy, P-Lo, Jane Handcock, Koran Streets, Pallaví, Shy’An G, Ian Kelly, ALLBLACK, Kevin Allen and others), the compilation isn’t a sampler so much as a statement of purpose. Concurrent with the \u003ca href=\"https://www.kqed.org/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">podcast of the same name\u003c/a> (presented by activist organization People’s Programs), \u003cem>Tales of the Town\u003c/em> addresses Oakland history, sports, police brutality, gentrification and the housing crisis — all while proving the case for Oakland as a center of Black Excellence.\u003c/p>\n\u003cp>The multigenerational result is verses from veterans like J Stalin, who addresses Oscar Grant (“Three years for a Black life / And they want you to praise Christ?”), and newcomers like LaRussell, who takes on police and environmental racism (“How they build a hood and a power plant adjacent?”). With spoken-word segues from Town figures like Tupac Shakur and an overarching trajectory toward making Oakland a more equitable city, \u003cem>Tales of the Town\u003c/em> is 2022’s sharpest musical snapshot of the Bay Area right now. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=370607175/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Samora Pinderhughes, \u003cem>GRIEF\u003c/em> (Stretch Music/Ropeadope)\u003c/h2>\n\u003cp>The Bay Area got a deep look into the research that inspired Berkeley-reared pianist, songwriter and vocalist Samora Pinderhughes’ album \u003cem>GRIEF\u003c/em> last spring with \u003cem>The Healing Project\u003c/em>, a multimedia installation at Yerba Buena Center for the Arts produced by Anna Deavere Smith, Glenn Ligon and Vijay Iyer. A cool-toned but scorching \u003cem>cri de coeur\u003c/em> revealing the costs of mass incarceration, \u003cem>GRIEF\u003c/em> peels back the mounting losses one devastating track at a time.\u003c/p>\n\u003cp>Like on the title song, with its sinuous, whispered refrain of “death is much worse for the ones left behind,” the project’s inviting melodic hooks and luscious production generate crackling tension with the abject content. Spiritually charged but utterly grounded, the songs don’t attempt to put pieces back together as much as honor the wounds, hinting at avenues toward healing. Joined by a superlative ensemble featuring drummer Marcus Gilmore, electric bassist Boom Bishop, double bassist Clovis Nicolas, alto saxophonist Immanuel Wilkins, tenor saxophonist Lucas Pino and vocalists Nio Levon and Jehbreal Jackson — as well Samora’s younger sister Elena Pinderhughes on flute — \u003cem>GRIEF\u003c/em> marks Pinderhughes’ transformation from promising jazz pianist to visionary songwriter and producer with a rarified skillset and prophetic agenda. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1475871226&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hokage Simon, \u003cem>Neon Noir\u003c/em> (self-released)\u003c/h2>\n\u003cp>Vallejo artist Hokage Simon has had an eventful year. He’s been handling his business, playing keys for rising artists like LaRussell and Elujay, and even walking in the 2022 TOMBOGO fashion show. He dropped his seven-song album \u003cem>Neon Noir\u003c/em> this summer, following up on the joint album he released with LaRussell, \u003cem>For What It’s Worth\u003c/em>, in March. Simon wrote \u003cem>Neon Noir\u003c/em> while battling cancer, and he released it on the one-year anniversary of his recovery. On the summery song “Enough,” featuring Tomas Jordan, Simon fuses an R&B two-step with a funky undertone and light vocals. This album spotlights Simon’s expansive synth playing, traversing R&B, psychedelic pop, jazz and boogie. On another standout song, “Gullible,” Simon sings about being sprung over someone, taking the listener back to the nostalgia of early crushes. With \u003cem>Neon Noir\u003c/em>, Simon took a dark moment in his life and made something luminous. \u003cem>— Nia Coats\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/13EB3cUBrQNqkBZCUgCawi?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kamaiyah, \u003cem>DIVINE TIMING (DELUXE)\u003c/em> (KEEP IT LIT ENT.)\u003c/h2>\n\u003cp>Since her 2016 debut, \u003cem>A Good Night in the Ghetto\u003c/em>, Kamaiyah has asserted her way to the top of the hip-hop food chain, claiming a 2017 \u003ci>XXL\u003c/i> Freshman title and collabing with rap’s biggest trendsetters, including Drake, YG, Lil Yachty and G-Eazy. This year, the Oakland star returned with a refined version of her trademark vibe on \u003cem>DIVINE TIMING (DELUXE)\u003c/em>. Her second studio album, this project is made for the slappaholics, hustlers and smooth talkers. It’s a soundtrack for those who yearn for G-funk’s synth and bass on songs like “WHEN I SWANG.” Then there are the drippy bells and relentless tales of braggadocio on “Play Too Much,” featuring Cash Kidd.\u003c/p>\n\u003cp>For Oakland’s rap queen, it’s not just about flexing lyrical muscle over West Coast house party beats. She’s also here to share knowledge and intimate memories from her journey. On the album’s only interlude, “Brenda Talks From Heaven,” an audio recording plays a distorted voice message from a departed loved one. The humanity of the artist sharing a tender moment in a time of pain provides a moment of transcendence.\u003c/p>\n\u003cp>\u003cem>DIVINE TIMING (DELUXE)\u003c/em> is laced with a generous but not-overly-saturated number of guest features, including Vallejo’s Da Boii, Detroit’s Sada Baby and Dej Loaf, and the late Stockton rapper Young Slo-Be. With twice as many tracks included on this deluxe version as the original release, Kamaiyah reminds us why her flow is limitless — and divinely timed for Bay Area fans. \u003cem>— Alan Chazaro\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3201079726/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Brijean, \u003cem>Angelo\u003c/em> (Ghostly International)\u003c/h2>\n\u003cp>On the dance floor, we typically hear songs about love and desire, but disco-house duo Brijean offers an invitation to move our bodies as a form of release from pain. Their EP \u003ci>Angelo\u003c/i> opens with the echoes of singer-percussionist Brijean Murphy beckoning, “Which way to the club?” as if inviting us down an enchanted rabbit hole. But subtly and masterfully, the project weaves in themes of grief. Murphy and her musical and life partner, bassist-producer Doug Stuart, both lost parents over the past two years. The memory of Brijean’s father, Latin jazz percussionist Patrick Murphy, is embedded in \u003ci>Angelo\u003c/i>’s DNA through her dexterous conga rhythms, which the bandleader has referred to as family heirlooms.\u003c/p>\n\u003cp>“Shy Guy” and “Ooh La La” conjure a technicolor party somewhere balmy and tropical. But \u003ci>Angelo\u003c/i> comes to a more contemplative moment on the title track, named after the car in which Murphy and Stuart drove away from the Bay Area, first to care for ailing family members, and then to relocate to Los Angeles. That feeling of longing for loved ones, whether separated by distance or on another plane, comes into full view on “Caldwell’s Way,” a wistful, downtempo pop track with a keyboard solo that invites you to stare out the window in contemplation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2eR6L5nfTqjp97Kty4fCgs?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Elujay, \u003cem>Circmvnt\u003c/em> (OneTime!)\u003c/h2>\n\u003cp>Elujay’s track “Ratrace” set the tone for 2022. The refreshing percussion, light keys and bright synths combine to create a head-nodding beat, over which the Oakland-raised artist floats lyrics about yearning to be removed from our fast-paced society.\u003c/p>\n\u003cp>“It is easier to disassociate / Forget the race, rat race/ I’d risk it for you,” sings Elujay over production by Chris Palowitch, Hokage Simon and Anthony Shogun.\u003c/p>\n\u003cp>“Ratrace” is the first single off Elujay’s January 2022 release, \u003cem>Circmvnt\u003c/em>, a project full of delightful harmonies and heavy lyrics. On “Pandemia,” for example, he writes about the dangers of overconsumption and critiques the notion of sending children to school in the middle of the pandemic. But the song is so chill that the magnitude of the lyrics might escape you if you don’t read along as Elujay sings.\u003c/p>\n\u003cp>The album isn’t solely deep meditations about existential crises and the ills of society. On “Luvaroq,” which features serpantwithfeet, Elujay brings fans into his version of a lovers’ rock track. And on “1080p” (with HXNS), Elujay gives listeners music to break a sweat on the dancefloor.\u003c/p>\n\u003cp>\u003cem>Circmvnt\u003c/em> is both a soundtrack for the cool kids who have 1980s nostalgia and the philosophers who contemplate the future of humankind. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dregs One, \u003cem>Sucka Repellent\u003c/em> (Audio Vandals)\u003c/h2>\n\u003cp>Anyone who follows Dregs One on TikTok already knows: the man is a well of Bay Area hip-hop culture, broadcasting his mini-histories of legends like Mac Dre, Ill Mannered Playas, Hieroglyphics and RBL Posse to 41,000 followers. What’s not so widely known is Dregs’ own deep rap career — the latest installment of which, \u003cem>Sucka Repellent\u003c/em>, rolls up 30-plus years of Bay Area hip-hop history into 16 streetwise tracks.\u003c/p>\n\u003cp>Dregs nods to the bassline of Too Short’s “Blow the Whistle” in “28 Dubs”; the DJ Fresh-produced “Bobby Brown” calls for unity and blessings from “Frisco to San Jo, represent the Town bizness / Vallejo, Sacramento, Palo Alto, Richmond”; and guests like Husalah (“Geeked Up”), Cellski (“City Life”) and add an indelible Bay Area stamp.\u003c/p>\n\u003cp>But perhaps the most vivid encapsulation of Dregs’ own story comes on “Rap Cats.” In one succinct verse, Dregs recounts his aspirations as a hungry kid growing up in Lakeview: listening to \u003cem>The Wake Up Show\u003c/em>, wanting to sound like Tupac, digging in the crates, watching graffiti in the tunnels from the bus, selling albums on consignment and rocking house parties. With a guest verse from the one and only Spice 1, \u003cem>Sucka Repellent\u003c/em> comes full circle to an abiding truth: Frisco dreams really can come true. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=306833697/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>spacemoth, \u003cem>No Past No Future\u003c/em> (Wax Nine/Carpark Records)\u003c/h2>\n\u003cp>It’s an album that opens with an unflinching question — “When is this shit gonna end?” — and closes with a wholly depressing answer: “No future here.”\u003c/p>\n\u003cp>\u003cem>No Past No Future\u003c/em> is the disillusioned brainchild of Maryam Qudus, a studio engineer and producer that Bay Area locals might recognize from Women’s Audio Mission or Tiny Telephone studios. Qudus sounds like Stereolab’s cooler sister after spending an evening with Kathleen Hanna’s \u003cem>Julie Ruin\u003c/em> album, combining dreamy soundscapes, thoroughly dystopian lyrics and irresistibly lo-fi dance moments. (“Pipe and Pistol” and “Noise of Everyday Life” are upbeat highlights.) In between, Qudus touches on the racism she deals with because of her Afghan heritage (“L.O.T.F”) and offers a cleverly constructed critique of sexual harassment (“Asking for You”) that would’ve been at home on the \u003cem>Promising Young Woman\u003c/em> soundtrack.\u003c/p>\n\u003cp>Seamlessly combining sounds of the future with the persistent idea that there won’t be one isn’t a recipe that should work, but it is surprisingly satisfying in Qudus’ capable hands. Stash a copy in your doomsday bunker immediately. —\u003cem> Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Mystic, \u003cem>Dreaming In Cursive: The Girl Who Loved Sparklers\u003c/em> (Beautifull Soundworks)\u003c/h2>\n\u003cp>Mystic’s long-awaited third album arrived in August, two decades after her now-classic \u003cem>Cuts For Luck and Scars For Freedom\u003c/em>. In that time, she’s become an educator and healer, working in youth development. The Oakland MC brings that perspective to \u003cem>Dreaming In Cursive\u003c/em>, along with her own lived experiences, resulting in that rare hip-hop album that grounds itself in love and revels in wisdom. The album overflows with positive affirmations, cognizant of human struggle, but aspirational in nature and spiritual in tone. Mystic promises to “show you magic,” yet her invocations have more to do with uplifting souls than occult sorcery.\u003c/p>\n\u003cp>Mystic has always been a unicorn, talented at rapping, singing and spoken word, while being both socially conscious and street-savvy. \u003cem>Dreaming In Cursive\u003c/em> trades some of the edginess of her debut for a mellower overall vibe, complete with tasteful keyboards and poetic interludes. Boom-bap beats don’t dominate every track, but when they do surface, as on the anthemic single “We Are the People,” they bring a strident urgency without overshadowing her lyrical message. Which is, simply, that love is a revolutionary, transformative act that is foundational to liberation. Loving unapologetically — the album’s preeminent theme — requires having faith, vulnerability and intentional openness. This isn’t what we normally hear from rappers, but it’s perhaps what we need to hear more often. \u003cem>— Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=670857443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Try the Pie, \u003cem>A Widening Burst of Forever\u003c/em> (Get Better Records)\u003c/h2>\n\u003cp>Equal parts cathartic and tender, Try the Pie’s \u003cem>A Widening Burst of Forever\u003c/em> features nine tracks that bounce between wistful and slow, loud and grungy. In “Asleep on the Lawn,” San Jose-raised singer-songwriter Bean Tupou’s clear and high vocals pierce the heavy reverberations of a simple guitar melody. “I didn’t see it like you,” they sing, soft and melancholic. Then, in “Last of You,” Tupou pivots into something grittier — with a more urgent vocal delivery and faster, cranked-up guitar riffs that collide into something worth headbanging to.\u003c/p>\n\u003cp>The album’s raw instrumentals are often paired with heartfelt lyrics. In “Awful Moon,” Tupou sings, “I’m just a fern below the dirt / unemerged,” confessing to an unnamed person that they are still delicate, still burgeoning, still growing into an unknown. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1815539143/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spote Breeze, \u003cem>Cascade Viewing\u003c/em> (Hot Record Societe)\u003c/h2>\n\u003cp>Spote Breeze is one the best-kept secrets of the Bay Area’s hip-hop scene. He’s usually hiding behind glasses and a hoodie, and rarely does he promote himself. But his music for self-described introverts shows that the quiet ones, the people who sit back and observe, often have the wisest things to say. On \u003ci>Cascade Viewing\u003c/i>, airy jazz- and soul-inflected beats by OG Jarin crackle with the sound of a vintage record player. With this vibe of an intimate listening session, the production gives the Oakland MC space to explore his inner world, as if writing diary entries in the blank pages of a notebook.\u003c/p>\n\u003cp>Spote’s story-rich verses ruminate on hard life experiences, eventually pulling out kernels of wisdom about friendship, personal growth and spirituality. Like the title \u003ci>Cascade Viewing\u003c/i> suggests (it’s an almost-homonym for “casket viewing”), brushes with death haunt the album’s 13 tracks. But even amid grim reminders of our mortality, Spote builds a more hopeful future, and his intricate rhymes are the foundation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0BAcSuVdtXejNW6zQsIlJa?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Nate Curry and YMTK, \u003cem>By Design\u003c/em> (Self-Released)\u003c/h2>\n\u003cp>In February, Oakland’s YMTK and Sacramento’s Nate Curry dropped \u003cem>By Design\u003c/em>, a nine-track project that fuses modern R&B with touches of trip-hop, heavy basslines and a dash pop flare. It’s the definition of eclectic.\u003c/p>\n\u003cp>The album begins with a mellow title track, about the perseverance it takes to achieve your goals, and takes listeners through a journey of physical attraction, the pursuit of love and the process of healing from love lost.\u003c/p>\n\u003cp>The house-influenced “Miss That” is a feel-good song about a relationship ending — somewhat of a contradictory notion, but it works really well for the healing process. It’s followed by “Silence,” where Jay Anthony joins YMTK and Nate Curry on a beat with a blappin’, mobb music bassline. The album features Bay Area standouts Guap, P-Lo and Symba — and a rare verse from Lil B — as well as Los Angeles’ Iman Europe and Phabo.\u003c/p>\n\u003cp>The sonic diversity in this album is a nod to the talent of Nate Curry and YMTK, who’ve figured out ways to work with a wide range of artists from the region. When Northern Californian artists join to create quality work, it does wonders for all of us. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3Z9uDO0cSfAgKDhwHHh2mQ?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Calvin Keys, \u003cem>Blue Keys\u003c/em> (Wide Hive Records)\u003c/h2>\n\u003cp>On the cusp of his 80th birthday, Calvin Keys sounds as lean and potent as ever. The Oakland guitarist has been at the center of the Bay Area jazz since the mid-1970s, and his new album \u003cem>Blue Keys\u003c/em> finds him keeping company with a bevy of similarly distinguished masters, including former Bay Area-based percussionist Babatunde Lea, bassist Henry “The Skipper” Franklin, alto saxophonist Gary Bartz and trombonist Steve Turre (who also contributes on conch shells). As with many releases on Berkeley’s Wide Hive Records, label owner Gregory Howe is in the thick of the action as a pianist, organist, composer and overall sound designer. Rather than a late-career valedictory statement, Keys’ fourth release on Wide Hive is the work of an artist who still sounds hungry to extend his creative purview.\u003c/p>\n\u003cp>Keys is best known for his understated eloquence in straight-ahead jazz settings, placing each note for maximum rhythmic and emotional impact. Blue Keys surrounds him with thickly textured horns, kicking off with “Peregrines Dive.” Laced with the woozily surging opening refrain from Horace Silver’s hard-bop classic “Nutville,” the tune gains momentum and heft until the horns give way, and Keys resets the stage with a sharply etched, telegraphic solo. Turre’s gorgeous conch solo on “Ck 22” provides a striking tonal contrast to Keys’ stinging phrasing while the second half “At Arrival” opens up into a delicate Keys and Bartz duet that’s worth the price of admission alone. Smart, soulful and pleasingly concise, Keys is an improviser in his prime. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1280115653/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Richie Cunning, \u003cem>Big Deal\u003c/em> (Son of the City)\u003c/h2>\n\u003cp>Rappers often shout out Frank Sinatra for his style, his underworld ties and his attitude. But let’s face it: musically, the two are worlds apart. Pop-vocal easy listening from the 1950s mixed with today’s hip-hop? The idea sounds preposterous.\u003c/p>\n\u003cp>Enter San Francisco rapper Richie Cunning and his latest album, \u003cem>Big Deal\u003c/em>, filled with lush strings, muted trumpet, walking bass and tinkling piano. While Cunning raps with smooth ease, the voices of Sammy Davis Jr. and Bobby Darin weave in and out, and the whole thing is structured and paced to resemble a boom-bap microphone fiend time-traveling to a midnight set at an Eisenhower-era supper club.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Weirdly, it works. Cunning obviously cares about his source material and hip-hop in equal measure, and even seems to acknowledge the illusory myth that the 1950s provided (“Here’s to everybody hopin’ to escape their ghosts”). Each time I hear \u003cem>Big Deal\u003c/em>, I think the same thing: someone better book him at Yoshi’s soon. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"KQED Arts & Culture highlights our favorite releases in rap, synth pop, jazz, R&B, indie rock and more.","status":"publish","parent":0,"modified":1705006078,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=2855467910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=370607175/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3201079726/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=306833697/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=670857443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1815539143/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=1280115653/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":80,"wordCount":4730},"headData":{"title":"The 20 Best Bay Area Albums of 2022 | KQED","description":"KQED Arts & Culture highlights our favorite releases in rap, synth pop, jazz, R&B, indie rock and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 20 Best Bay Area Albums of 2022","datePublished":"2022-12-08T22:41:53.000Z","dateModified":"2024-01-11T20:47:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"KQED Arts & Culture","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13922511/the-20-best-bay-area-albums-of-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though the music industry has been \u003ca href=\"https://www.npr.org/2022/09/19/1122947022/tour-canceled-covid-safety-concerts-masks\">incredibly challenging for independent artists\u003c/a> since the start of the pandemic, the Bay Area brought it in 2022. Throughout the year, veteran artists and newcomers alike set new bars for ingenuity and excellence. They invited us to have fun and get inspired, but they also offered opportunities for catharsis, for processing global events and personal challenges.\u003c/p>\n\u003cp>Without further ado, these are KQED Arts & Culture’s favorite albums of the year, in no particular order. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2KvfsMy0IQ2XRd5Rh7Ur2Q?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Zyah Belle, \u003cem>Yam Grier\u003c/em> (Guin Records)\u003c/h2>\n\u003cp>Zyah Belle has range. On her most confident album yet, the Vallejo-raised singer delves into the many emotional shades of love, using them as a catalyst for growth and self-mastery. On the opening track, “Ready Or Not,” Belle arrives, heart bursting, approaching a new love as if it were a magical gateway to another realm. Her silky mezzo-soprano voice, honed in church choir, makes her rapture contagious. But passions cool on “Holding On,” a low-key disco track with lyrics about not wanting to accept that a relationship is past its expiration date.\u003c/p>\n\u003cp>We see Belle embrace her sexuality on “Back to Back,” a smoldering duet with Jordan Hawkins, where the singers yearn for a hookup too good not to pursue. And with standout track “Cold Blooded,” Belle shifts beyond pretty and embodies a darker persona — one who learned the game from Too $hort, who gets name-dropped in the track. The minimalist guitar strum of “Healing” offers a tender moment of reprieve, offering affirmations for anyone recovering from a setback. A solid companion piece to grown-woman R&B albums like Jazmine Sullivan’s \u003cem>Heaux Tales\u003c/em> and Ari Lennox’s \u003cem>Shea Butter Baby\u003c/em>, Belle’s \u003cem>Yam Grier\u003c/em> is emotionally honest, and full of sumptuous textures and smart storytelling. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/5E5phS3ZeUFwzrDMqqQiwx?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mistah F.A.B., \u003cem>Black Designer\u003c/em> (Faeva Afta)\u003c/h2>\n\u003cp>It doesn’t take long for Oakland rapper Mistah F.A.B. to articulate why \u003cem>Black Designer\u003c/em> is being called his “mature” album: just 22 seconds into its eponymous kickoff track, he raps, “Busy as hell but always answer when my daughter calls / Present when my son took his first steps.” Other song titles reference Black cultural icons — among them Duke Ellington, Dorothy Dandridge, Mansa Musa, and W.E.B. Du Bois. “George Washington Carver” could have easily been titled “Flower Shop” — it’s more about props than crops — but artistic license appears to be a by-product of F.A.B. owning his own masters.\u003c/p>\n\u003cp>F.A.B. has added adulting to a skillset that already included evocative imagery and nimble, punchline-laden flows. High-flying tales of lavish international trips fluidly contrast with socially conscious and inspirational messages: “I grew up poor, who ashamed of that? Not me / It’s just evidence that can’t nothing in life stop me,” he raps. \u003cem>Black Designer\u003c/em>’s 22 tracks, spanning over 80 minutes, run lyrical circles around 95% of rappers alive. Though rooted in boastfulness, the use of patterns, alliteration, slang and metaphors overflow with creative mojo and a newfound sense of purpose. The album eschews trap or drill beats, instead offering up lush beds of jazzy, soulful loops more consistent with hip-hop’s history than its present state. The result is one of the best Bay Area hip-hop albums in recent memory, one that knows the world is bigger than the block. \u003cem>—\u003c/em>\u003cem> Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4DTVVsFW3Jhi4Jw8flTAGR?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Rexx Life Raj, \u003cem>The Blue Hour\u003c/em> (Rexx Life/EMPIRE)\u003c/h2>\n\u003cp>After the recent passing of his mother and father, Berkeley’s Rexx Life Raj took time to pour his pain into a work of art, \u003cem>The Blue Hour\u003c/em>.\u003c/p>\n\u003cp>The 12-track album, named after the time of the day just before dawn, takes listeners through some of the darkest moments in Raj’s life. And still, between intimate details of grief, he finds space to slide in slices of levity, clever lyrics and a player lifestyle.\u003c/p>\n\u003cp>“Beauty in The Madness,” featuring Wale and Fireboy DML, is a club-ready track for those who like to dance. “Scared Money” is a raw display of real rapper bars over a beat that’s an audible punch in the face. “Jerry Curl,” featuring Larry June, is the soundtrack to smoke and ride to.\u003c/p>\n\u003cp>But it’s the song “Save Yourself” that’s arguably the most important song to come out of the region this year. Raj opens his first verse by rapping, “When I was down bad / Looked in the mirror and realized I was all that I had / Had fam and the gang is the landing pad / But if I don’t steer the plane, then it’ll still crash.”\u003c/p>\n\u003cp>He delivers a Sunday morning sermon about self-reliance while riding a bass-heavy beat. It taps directly into the cerebral cortex and pushes listeners to enter a transcendent state where pain and love merge in this thing we know as music.\u003c/p>\n\u003cp>It’s art at its highest form.\u003c/p>\n\u003cp>To mourn in public is to show the world your full humanity. To create art and invite others to share in the grieving process pushes all of us to be more fully human. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/4C87UAmhJ3nhATyp9nCI4i?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Fantastic Negrito, \u003cem>White Jesus Black Problems\u003c/em> (Storefront Records)\u003c/h2>\n\u003cp>Liberated from the show-business pressures he encountered in the 1990s, when he was a young R&B singer with a major-label deal, Oakland’s Fantastic Negrito has earned a national following in recent years. The inaugural winner of NPR’s Tiny Desk Contest, and a three-time Grammy winner for Best Contemporary Blues Album, he’s emphasized honesty and a pursuit of self that honors his roots.\u003c/p>\n\u003cp>On Fantastic Negrito’s latest album, \u003cem>White Jesus Black Problems\u003c/em>, the angelically psychedelic chorus of opening track “Venomous Dogma” enraptures you and doesn’t let go. Another track, “You Don’t Belong Here,” is a sound-rich window into the realities of oppression and otherness.\u003c/p>\n\u003cp>Fantastic Negrito released \u003cem>White Jesus Black Problems\u003c/em> with a \u003ca href=\"https://www.youtube.com/watch?v=BGOBdCscvgo\" target=\"_blank\" rel=\"noopener noreferrer\">short film of the same title\u003c/a>. As he narrates in the introduction, it’s “a love story” — one that he lays bare on “Virginia Soil,” the last track on the album. It situates the listener in Oakland and Virginia at the same time, and honors Fantastic Negrito’s 18th-century ancestors. His white Scottish grandmother, Gallamore, and his enslaved African American grandfather — whom Negrito calls Courage — lived in defiance of the racist social order of their time. “Freedom will come,” Fantastic Negrito sings triumphantly on the track. As listeners, we’re better for his prophetic nudges towards liberty. \u003cem>— Camilo Garzón\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3iIQrRl8NG7AgSJlStJdQw?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>mxmtoon, \u003cem>rising\u003c/em> (AWAL Recordings America)\u003c/h2>\n\u003cp>When Maia — known as mxmtoon — was 17, she wrote “prom dress,” a sad yet upbeat anthem for lost teenagers overwhelmed by doubt and confusion. Now, four years later, the Oakland-born singer-songwriter reflects on how life has changed and her evolution in her latest album, \u003cem>rising\u003c/em>.\u003c/p>\n\u003cp>Like much of mxmtoon’s discography, \u003cem>rising\u003c/em> features tender, heartfelt lyrics and dreamy pop instrumentals delivered with high, soft vocals. Many songs on the album tackle aging, nostalgia, the pressures of societal expectations and what it means to look forward as you let go of your younger self. In “victim of nostalgia,” a track fit for a coming-of-age film, mxmtoon sings: “It’s the panic of growing up / It’s the fear of fallin’ down,” illustrating her unsteadiness as she enters her early 20s.\u003c/p>\n\u003cp>But this doubt is balanced by songs like “kaleidoscope,” where she accepts that the chaos the unknown is where she can truly grow. “Count all of my colors, but you’ll never know,” she sings, boldly accepting that this new era she enters is one of many to come. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2855467910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Toro Y Moi, \u003cem>Mahal\u003c/em> (Dead Oceans)\u003c/h2>\n\u003cp>Every single one of my teenage years was spent in the 1990s. While a lot of people look back on their formative years and cringe, I never have. I loved everything about that decade — the fashion, the music, the creative communities, the attitude. The current ’90s revival then, has been filling me with joy all year — and Toro Y Moi’s chillwave has proven to be the perfect soundtrack.\u003c/p>\n\u003cp>On \u003cem>Mahal\u003c/em>, the Oakland artist and producer (real name: Chaz Bear) mashes a plethora of ’90s trends seamlessly into one expansive, alluring mirage. Combining dreamy soundscapes, fuzzy indie-rock guitars, hip-hop beats (that occasionally nod in the direction of drum and bass) and the same ’70s funk sensibilities we embraced in the ’90s, Toro Y Moi is so retro, he’s entirely of the moment.\u003c/p>\n\u003cp>To me, \u003cem>Mahal\u003c/em> sounds like seven people smoking weed in a tiny dorm room, backpacks and skateboards piled up in the corner. It sounds like making out under the stars on the walk home. It sounds like dancing with your friends in a sweaty basement. It sounds like living, and it’s beautiful. \u003cem>— Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3I7zgqesHxrk9YQ5ZrHz3v?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Various Artists, \u003cem>Tales of the Town\u003c/em> (Tales of the Town)\u003c/h2>\n\u003cp>It’s been a tremendously exciting year for Bay Area rap and R&B, and \u003cem>Tales of the Town\u003c/em> is the natural culmination. With a who’s-who of the region’s rich talent (including Guap, ShooterGang Kony, G-Eazy, P-Lo, Jane Handcock, Koran Streets, Pallaví, Shy’An G, Ian Kelly, ALLBLACK, Kevin Allen and others), the compilation isn’t a sampler so much as a statement of purpose. Concurrent with the \u003ca href=\"https://www.kqed.org/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast\" target=\"_blank\" rel=\"noopener noreferrer\">podcast of the same name\u003c/a> (presented by activist organization People’s Programs), \u003cem>Tales of the Town\u003c/em> addresses Oakland history, sports, police brutality, gentrification and the housing crisis — all while proving the case for Oakland as a center of Black Excellence.\u003c/p>\n\u003cp>The multigenerational result is verses from veterans like J Stalin, who addresses Oscar Grant (“Three years for a Black life / And they want you to praise Christ?”), and newcomers like LaRussell, who takes on police and environmental racism (“How they build a hood and a power plant adjacent?”). With spoken-word segues from Town figures like Tupac Shakur and an overarching trajectory toward making Oakland a more equitable city, \u003cem>Tales of the Town\u003c/em> is 2022’s sharpest musical snapshot of the Bay Area right now. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=370607175/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Samora Pinderhughes, \u003cem>GRIEF\u003c/em> (Stretch Music/Ropeadope)\u003c/h2>\n\u003cp>The Bay Area got a deep look into the research that inspired Berkeley-reared pianist, songwriter and vocalist Samora Pinderhughes’ album \u003cem>GRIEF\u003c/em> last spring with \u003cem>The Healing Project\u003c/em>, a multimedia installation at Yerba Buena Center for the Arts produced by Anna Deavere Smith, Glenn Ligon and Vijay Iyer. A cool-toned but scorching \u003cem>cri de coeur\u003c/em> revealing the costs of mass incarceration, \u003cem>GRIEF\u003c/em> peels back the mounting losses one devastating track at a time.\u003c/p>\n\u003cp>Like on the title song, with its sinuous, whispered refrain of “death is much worse for the ones left behind,” the project’s inviting melodic hooks and luscious production generate crackling tension with the abject content. Spiritually charged but utterly grounded, the songs don’t attempt to put pieces back together as much as honor the wounds, hinting at avenues toward healing. Joined by a superlative ensemble featuring drummer Marcus Gilmore, electric bassist Boom Bishop, double bassist Clovis Nicolas, alto saxophonist Immanuel Wilkins, tenor saxophonist Lucas Pino and vocalists Nio Levon and Jehbreal Jackson — as well Samora’s younger sister Elena Pinderhughes on flute — \u003cem>GRIEF\u003c/em> marks Pinderhughes’ transformation from promising jazz pianist to visionary songwriter and producer with a rarified skillset and prophetic agenda. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"300\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/1475871226&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Hokage Simon, \u003cem>Neon Noir\u003c/em> (self-released)\u003c/h2>\n\u003cp>Vallejo artist Hokage Simon has had an eventful year. He’s been handling his business, playing keys for rising artists like LaRussell and Elujay, and even walking in the 2022 TOMBOGO fashion show. He dropped his seven-song album \u003cem>Neon Noir\u003c/em> this summer, following up on the joint album he released with LaRussell, \u003cem>For What It’s Worth\u003c/em>, in March. Simon wrote \u003cem>Neon Noir\u003c/em> while battling cancer, and he released it on the one-year anniversary of his recovery. On the summery song “Enough,” featuring Tomas Jordan, Simon fuses an R&B two-step with a funky undertone and light vocals. This album spotlights Simon’s expansive synth playing, traversing R&B, psychedelic pop, jazz and boogie. On another standout song, “Gullible,” Simon sings about being sprung over someone, taking the listener back to the nostalgia of early crushes. With \u003cem>Neon Noir\u003c/em>, Simon took a dark moment in his life and made something luminous. \u003cem>— Nia Coats\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/13EB3cUBrQNqkBZCUgCawi?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Kamaiyah, \u003cem>DIVINE TIMING (DELUXE)\u003c/em> (KEEP IT LIT ENT.)\u003c/h2>\n\u003cp>Since her 2016 debut, \u003cem>A Good Night in the Ghetto\u003c/em>, Kamaiyah has asserted her way to the top of the hip-hop food chain, claiming a 2017 \u003ci>XXL\u003c/i> Freshman title and collabing with rap’s biggest trendsetters, including Drake, YG, Lil Yachty and G-Eazy. This year, the Oakland star returned with a refined version of her trademark vibe on \u003cem>DIVINE TIMING (DELUXE)\u003c/em>. Her second studio album, this project is made for the slappaholics, hustlers and smooth talkers. It’s a soundtrack for those who yearn for G-funk’s synth and bass on songs like “WHEN I SWANG.” Then there are the drippy bells and relentless tales of braggadocio on “Play Too Much,” featuring Cash Kidd.\u003c/p>\n\u003cp>For Oakland’s rap queen, it’s not just about flexing lyrical muscle over West Coast house party beats. She’s also here to share knowledge and intimate memories from her journey. On the album’s only interlude, “Brenda Talks From Heaven,” an audio recording plays a distorted voice message from a departed loved one. The humanity of the artist sharing a tender moment in a time of pain provides a moment of transcendence.\u003c/p>\n\u003cp>\u003cem>DIVINE TIMING (DELUXE)\u003c/em> is laced with a generous but not-overly-saturated number of guest features, including Vallejo’s Da Boii, Detroit’s Sada Baby and Dej Loaf, and the late Stockton rapper Young Slo-Be. With twice as many tracks included on this deluxe version as the original release, Kamaiyah reminds us why her flow is limitless — and divinely timed for Bay Area fans. \u003cem>— Alan Chazaro\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3201079726/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Brijean, \u003cem>Angelo\u003c/em> (Ghostly International)\u003c/h2>\n\u003cp>On the dance floor, we typically hear songs about love and desire, but disco-house duo Brijean offers an invitation to move our bodies as a form of release from pain. Their EP \u003ci>Angelo\u003c/i> opens with the echoes of singer-percussionist Brijean Murphy beckoning, “Which way to the club?” as if inviting us down an enchanted rabbit hole. But subtly and masterfully, the project weaves in themes of grief. Murphy and her musical and life partner, bassist-producer Doug Stuart, both lost parents over the past two years. The memory of Brijean’s father, Latin jazz percussionist Patrick Murphy, is embedded in \u003ci>Angelo\u003c/i>’s DNA through her dexterous conga rhythms, which the bandleader has referred to as family heirlooms.\u003c/p>\n\u003cp>“Shy Guy” and “Ooh La La” conjure a technicolor party somewhere balmy and tropical. But \u003ci>Angelo\u003c/i> comes to a more contemplative moment on the title track, named after the car in which Murphy and Stuart drove away from the Bay Area, first to care for ailing family members, and then to relocate to Los Angeles. That feeling of longing for loved ones, whether separated by distance or on another plane, comes into full view on “Caldwell’s Way,” a wistful, downtempo pop track with a keyboard solo that invites you to stare out the window in contemplation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/2eR6L5nfTqjp97Kty4fCgs?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Elujay, \u003cem>Circmvnt\u003c/em> (OneTime!)\u003c/h2>\n\u003cp>Elujay’s track “Ratrace” set the tone for 2022. The refreshing percussion, light keys and bright synths combine to create a head-nodding beat, over which the Oakland-raised artist floats lyrics about yearning to be removed from our fast-paced society.\u003c/p>\n\u003cp>“It is easier to disassociate / Forget the race, rat race/ I’d risk it for you,” sings Elujay over production by Chris Palowitch, Hokage Simon and Anthony Shogun.\u003c/p>\n\u003cp>“Ratrace” is the first single off Elujay’s January 2022 release, \u003cem>Circmvnt\u003c/em>, a project full of delightful harmonies and heavy lyrics. On “Pandemia,” for example, he writes about the dangers of overconsumption and critiques the notion of sending children to school in the middle of the pandemic. But the song is so chill that the magnitude of the lyrics might escape you if you don’t read along as Elujay sings.\u003c/p>\n\u003cp>The album isn’t solely deep meditations about existential crises and the ills of society. On “Luvaroq,” which features serpantwithfeet, Elujay brings fans into his version of a lovers’ rock track. And on “1080p” (with HXNS), Elujay gives listeners music to break a sweat on the dancefloor.\u003c/p>\n\u003cp>\u003cem>Circmvnt\u003c/em> is both a soundtrack for the cool kids who have 1980s nostalgia and the philosophers who contemplate the future of humankind. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dregs One, \u003cem>Sucka Repellent\u003c/em> (Audio Vandals)\u003c/h2>\n\u003cp>Anyone who follows Dregs One on TikTok already knows: the man is a well of Bay Area hip-hop culture, broadcasting his mini-histories of legends like Mac Dre, Ill Mannered Playas, Hieroglyphics and RBL Posse to 41,000 followers. What’s not so widely known is Dregs’ own deep rap career — the latest installment of which, \u003cem>Sucka Repellent\u003c/em>, rolls up 30-plus years of Bay Area hip-hop history into 16 streetwise tracks.\u003c/p>\n\u003cp>Dregs nods to the bassline of Too Short’s “Blow the Whistle” in “28 Dubs”; the DJ Fresh-produced “Bobby Brown” calls for unity and blessings from “Frisco to San Jo, represent the Town bizness / Vallejo, Sacramento, Palo Alto, Richmond”; and guests like Husalah (“Geeked Up”), Cellski (“City Life”) and add an indelible Bay Area stamp.\u003c/p>\n\u003cp>But perhaps the most vivid encapsulation of Dregs’ own story comes on “Rap Cats.” In one succinct verse, Dregs recounts his aspirations as a hungry kid growing up in Lakeview: listening to \u003cem>The Wake Up Show\u003c/em>, wanting to sound like Tupac, digging in the crates, watching graffiti in the tunnels from the bus, selling albums on consignment and rocking house parties. With a guest verse from the one and only Spice 1, \u003cem>Sucka Repellent\u003c/em> comes full circle to an abiding truth: Frisco dreams really can come true. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=306833697/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>spacemoth, \u003cem>No Past No Future\u003c/em> (Wax Nine/Carpark Records)\u003c/h2>\n\u003cp>It’s an album that opens with an unflinching question — “When is this shit gonna end?” — and closes with a wholly depressing answer: “No future here.”\u003c/p>\n\u003cp>\u003cem>No Past No Future\u003c/em> is the disillusioned brainchild of Maryam Qudus, a studio engineer and producer that Bay Area locals might recognize from Women’s Audio Mission or Tiny Telephone studios. Qudus sounds like Stereolab’s cooler sister after spending an evening with Kathleen Hanna’s \u003cem>Julie Ruin\u003c/em> album, combining dreamy soundscapes, thoroughly dystopian lyrics and irresistibly lo-fi dance moments. (“Pipe and Pistol” and “Noise of Everyday Life” are upbeat highlights.) In between, Qudus touches on the racism she deals with because of her Afghan heritage (“L.O.T.F”) and offers a cleverly constructed critique of sexual harassment (“Asking for You”) that would’ve been at home on the \u003cem>Promising Young Woman\u003c/em> soundtrack.\u003c/p>\n\u003cp>Seamlessly combining sounds of the future with the persistent idea that there won’t be one isn’t a recipe that should work, but it is surprisingly satisfying in Qudus’ capable hands. Stash a copy in your doomsday bunker immediately. —\u003cem> Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Mystic, \u003cem>Dreaming In Cursive: The Girl Who Loved Sparklers\u003c/em> (Beautifull Soundworks)\u003c/h2>\n\u003cp>Mystic’s long-awaited third album arrived in August, two decades after her now-classic \u003cem>Cuts For Luck and Scars For Freedom\u003c/em>. In that time, she’s become an educator and healer, working in youth development. The Oakland MC brings that perspective to \u003cem>Dreaming In Cursive\u003c/em>, along with her own lived experiences, resulting in that rare hip-hop album that grounds itself in love and revels in wisdom. The album overflows with positive affirmations, cognizant of human struggle, but aspirational in nature and spiritual in tone. Mystic promises to “show you magic,” yet her invocations have more to do with uplifting souls than occult sorcery.\u003c/p>\n\u003cp>Mystic has always been a unicorn, talented at rapping, singing and spoken word, while being both socially conscious and street-savvy. \u003cem>Dreaming In Cursive\u003c/em> trades some of the edginess of her debut for a mellower overall vibe, complete with tasteful keyboards and poetic interludes. Boom-bap beats don’t dominate every track, but when they do surface, as on the anthemic single “We Are the People,” they bring a strident urgency without overshadowing her lyrical message. Which is, simply, that love is a revolutionary, transformative act that is foundational to liberation. Loving unapologetically — the album’s preeminent theme — requires having faith, vulnerability and intentional openness. This isn’t what we normally hear from rappers, but it’s perhaps what we need to hear more often. \u003cem>— Eric Arnold\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=670857443/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Try the Pie, \u003cem>A Widening Burst of Forever\u003c/em> (Get Better Records)\u003c/h2>\n\u003cp>Equal parts cathartic and tender, Try the Pie’s \u003cem>A Widening Burst of Forever\u003c/em> features nine tracks that bounce between wistful and slow, loud and grungy. In “Asleep on the Lawn,” San Jose-raised singer-songwriter Bean Tupou’s clear and high vocals pierce the heavy reverberations of a simple guitar melody. “I didn’t see it like you,” they sing, soft and melancholic. Then, in “Last of You,” Tupou pivots into something grittier — with a more urgent vocal delivery and faster, cranked-up guitar riffs that collide into something worth headbanging to.\u003c/p>\n\u003cp>The album’s raw instrumentals are often paired with heartfelt lyrics. In “Awful Moon,” Tupou sings, “I’m just a fern below the dirt / unemerged,” confessing to an unnamed person that they are still delicate, still burgeoning, still growing into an unknown. \u003cem>— Kristie Song\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1815539143/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Spote Breeze, \u003cem>Cascade Viewing\u003c/em> (Hot Record Societe)\u003c/h2>\n\u003cp>Spote Breeze is one the best-kept secrets of the Bay Area’s hip-hop scene. He’s usually hiding behind glasses and a hoodie, and rarely does he promote himself. But his music for self-described introverts shows that the quiet ones, the people who sit back and observe, often have the wisest things to say. On \u003ci>Cascade Viewing\u003c/i>, airy jazz- and soul-inflected beats by OG Jarin crackle with the sound of a vintage record player. With this vibe of an intimate listening session, the production gives the Oakland MC space to explore his inner world, as if writing diary entries in the blank pages of a notebook.\u003c/p>\n\u003cp>Spote’s story-rich verses ruminate on hard life experiences, eventually pulling out kernels of wisdom about friendship, personal growth and spirituality. Like the title \u003ci>Cascade Viewing\u003c/i> suggests (it’s an almost-homonym for “casket viewing”), brushes with death haunt the album’s 13 tracks. But even amid grim reminders of our mortality, Spote builds a more hopeful future, and his intricate rhymes are the foundation. \u003cem>— Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/0BAcSuVdtXejNW6zQsIlJa?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Nate Curry and YMTK, \u003cem>By Design\u003c/em> (Self-Released)\u003c/h2>\n\u003cp>In February, Oakland’s YMTK and Sacramento’s Nate Curry dropped \u003cem>By Design\u003c/em>, a nine-track project that fuses modern R&B with touches of trip-hop, heavy basslines and a dash pop flare. It’s the definition of eclectic.\u003c/p>\n\u003cp>The album begins with a mellow title track, about the perseverance it takes to achieve your goals, and takes listeners through a journey of physical attraction, the pursuit of love and the process of healing from love lost.\u003c/p>\n\u003cp>The house-influenced “Miss That” is a feel-good song about a relationship ending — somewhat of a contradictory notion, but it works really well for the healing process. It’s followed by “Silence,” where Jay Anthony joins YMTK and Nate Curry on a beat with a blappin’, mobb music bassline. The album features Bay Area standouts Guap, P-Lo and Symba — and a rare verse from Lil B — as well as Los Angeles’ Iman Europe and Phabo.\u003c/p>\n\u003cp>The sonic diversity in this album is a nod to the talent of Nate Curry and YMTK, who’ve figured out ways to work with a wide range of artists from the region. When Northern Californian artists join to create quality work, it does wonders for all of us. \u003cem>— Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/album/3Z9uDO0cSfAgKDhwHHh2mQ?utm_source=generator\" width=\"100%\" height=\"80\" frameborder=\"0\" allowfullscreen allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Calvin Keys, \u003cem>Blue Keys\u003c/em> (Wide Hive Records)\u003c/h2>\n\u003cp>On the cusp of his 80th birthday, Calvin Keys sounds as lean and potent as ever. The Oakland guitarist has been at the center of the Bay Area jazz since the mid-1970s, and his new album \u003cem>Blue Keys\u003c/em> finds him keeping company with a bevy of similarly distinguished masters, including former Bay Area-based percussionist Babatunde Lea, bassist Henry “The Skipper” Franklin, alto saxophonist Gary Bartz and trombonist Steve Turre (who also contributes on conch shells). As with many releases on Berkeley’s Wide Hive Records, label owner Gregory Howe is in the thick of the action as a pianist, organist, composer and overall sound designer. Rather than a late-career valedictory statement, Keys’ fourth release on Wide Hive is the work of an artist who still sounds hungry to extend his creative purview.\u003c/p>\n\u003cp>Keys is best known for his understated eloquence in straight-ahead jazz settings, placing each note for maximum rhythmic and emotional impact. Blue Keys surrounds him with thickly textured horns, kicking off with “Peregrines Dive.” Laced with the woozily surging opening refrain from Horace Silver’s hard-bop classic “Nutville,” the tune gains momentum and heft until the horns give way, and Keys resets the stage with a sharply etched, telegraphic solo. Turre’s gorgeous conch solo on “Ck 22” provides a striking tonal contrast to Keys’ stinging phrasing while the second half “At Arrival” opens up into a delicate Keys and Bartz duet that’s worth the price of admission alone. Smart, soulful and pleasingly concise, Keys is an improviser in his prime. \u003cem>— Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1280115653/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Richie Cunning, \u003cem>Big Deal\u003c/em> (Son of the City)\u003c/h2>\n\u003cp>Rappers often shout out Frank Sinatra for his style, his underworld ties and his attitude. But let’s face it: musically, the two are worlds apart. Pop-vocal easy listening from the 1950s mixed with today’s hip-hop? The idea sounds preposterous.\u003c/p>\n\u003cp>Enter San Francisco rapper Richie Cunning and his latest album, \u003cem>Big Deal\u003c/em>, filled with lush strings, muted trumpet, walking bass and tinkling piano. While Cunning raps with smooth ease, the voices of Sammy Davis Jr. and Bobby Darin weave in and out, and the whole thing is structured and paced to resemble a boom-bap microphone fiend time-traveling to a midnight set at an Eisenhower-era supper club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weirdly, it works. Cunning obviously cares about his source material and hip-hop in equal measure, and even seems to acknowledge the illusory myth that the 1950s provided (“Here’s to everybody hopin’ to escape their ghosts”). Each time I hear \u003cem>Big Deal\u003c/em>, I think the same thing: someone better book him at Yoshi’s soon. \u003cem>— Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922511/the-20-best-bay-area-albums-of-2022","authors":["byline_arts_13922511"],"categories":["arts_1","arts_69"],"tags":["arts_10342","arts_1588","arts_10278","arts_831","arts_21788","arts_1420","arts_1558","arts_13352","arts_3477","arts_1983"],"featImg":"arts_13922538","label":"arts"},"arts_13919398":{"type":"posts","id":"arts_13919398","meta":{"index":"posts_1591205157","site":"arts","id":"13919398","score":null,"sort":[1663793515000]},"guestAuthors":[],"slug":"mystic-dreaming-in-cursive-the-girl-who-loved-sparklers","title":"Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’","publishDate":1663793515,"format":"standard","headTitle":"Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There’s a feeling of magic in \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>’s \u003ci>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/i>. The Oakland hip-hop artist, originally a member of Digital Underground in the ’90s, recently released her first solo album in eight years. After \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener noreferrer\">leaving a record deal and pursuing a second career as an educator\u003c/a>, Mystic is on her own timeline, making what she calls “healed Black woman music” outside the constraints of the industry. And \u003ci>Dreaming in Cursive\u003c/i> was well worth the wait. [aside postid='arts_13906176']\u003c/p>\n\u003cp>In a world full of suffering, Mystic finds an antidote by inviting her inner child out to play. While she acknowledges hard truths about violence and abuses of power, her activist message is also about nurturing feelings of love, hope and wonder. Those two themes are often intertwined in her work and life: Last month, to honor her late friend and collaborator Shock G, she and her Digital Underground family partnered with the community group \u003ca href=\"https://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> to distribute over 2,000 meals to Oakland residents in need. On \u003ci>Dreaming in Cursive\u003c/i>, the personal and collective are also linked, and the 14 tracks and poetic interludes present Mystic’s healing and the world’s healing as two parts of the same process.\u003c/p>\n\u003cp>“As somebody who has experienced trauma, it’s only through part of the healing process that I could return to that playfulness, that I could return to that imagination,” says Mystic, who intentionally incorporated children’s voices on the record to underscore the uplifting mood.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Dreaming in Cursive\u003c/i> celebrates the love of self, family, friends and community, and there’s a heavy emphasis on sensuality and romance as well. “Every song is actually a love song, but in a different context,” she says.\u003c/p>\n\u003cp>A standout track is “Butter (Green Light),” where Mystic raps over an uptempo, classic hip-hop beat with a warm guitar, as flirtatious giggles ring out in the background. “It’s a good thing, I’m in your sweet thing / The green light goes both ways / When I’m in your arms as the sun sets / It’s been a marvelous day,” she repeats before the chorus. The feel-good track captures a magical spark of mutual admiration, the kind of connection that makes you feel completely present in your loved one’s company.\u003c/p>\n\u003cp>“When I was younger, I could just think that you’re the one, right? I wasn’t too concerned whether it went both ways—I wanted it to go both ways. And I think part of the wisdom that I’ve gotten is when it doesn’t go both ways, that’s not where you’re supposed to be,” she says. “We each deserve to be loved passionately, to be celebrated, to be listened to and held and inspired.”\u003c/p>\n\u003cp>The interludes between tracks give insight into this evolution as Mystic has learned over the years to love and trust herself. On “Alive and Free (Interlude),” which precedes another charmingly sincere love song called “Magic (Let Yourself Go),” Mystic and her friend Angela chat about breaking free from expectations imposed onto women and leaving a scarcity mindset behind.\u003c/p>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We can be so caught in our struggle that it can feel like it’s enough to be here and alive,” she says. “But like, don’t you want to thrive?” When the two friends laugh together, it’s the sound of two people who’ve been through some things and risen above.\u003c/p>\n\u003cp>“Angela is one of my forever-and-a-day sisters,” Mystic says. They met over 20 years ago when Angela booked Digital Underground for a show in San Jose; they went on to be roommates and even toured together. On Mystic’s acclaimed 2001 debut album \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, Angela appears in an interlude just before the lead single “The Life,” an ode to people surviving oppression in America’s inner cities.\u003c/p>\n\u003cp>“We’ve been riding together ever since,” Mystic says. “And she has been through with me in my life as a support and as a sister from when I was still broken right to where I am now.” [aside postid='arts_13919270']\u003c/p>\n\u003cp>Now that the album is out, Mystic is working on her next endeavor: a short film she co-wrote, co-directed and stars in called \u003ci>A Black Love Trilogy\u003c/i>, which incorporates the forthcoming music videos for “Butter (Green Light),” “Still (Love)” and “Love (Always),” but is a standalone narrative. The project is in post-production, and she has plans to enter it into film festivals when it comes out in 2023.\u003c/p>\n\u003cp>“A lot of what we’re seeing [in pop culture] is love being transactional and toxic,” says Mystic. The film focuses on a couple finding their way back to each other after a rough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[It’s about] the redemption in Black love and the power of Black love to survive those challenges and to place it in the collective context, because our love doesn’t exist outside of our communities,” Mystic says. “I really just want to uplift healthy, loving, joyful love.”\u003c/p>\n\n","blocks":[],"excerpt":"The veteran Oakland MC is making ‘healed Black woman music’ away from the constraints of the industry.","status":"publish","parent":0,"modified":1705006352,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":966},"headData":{"title":"Pass The Aux: Mystic Returns With ‘Dreaming in Cursive’ | KQED","description":"The veteran Oakland MC is making ‘healed Black woman music’ away from the constraints of the industry.","ogTitle":"Mystic Returns with 'Dreaming in Cursive: The Girl Who Loved Sparklers'","ogDescription":"","ogImgId":"","twTitle":"Mystic Returns with 'Dreaming in Cursive: The Girl Who Loved Sparklers'","twDescription":"","twImgId":"","socialTitle":"Pass The Aux: Mystic Returns With ‘Dreaming in Cursive’%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’","datePublished":"2022-09-21T20:51:55.000Z","dateModified":"2024-01-11T20:52:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13919398/mystic-dreaming-in-cursive-the-girl-who-loved-sparklers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There’s a feeling of magic in \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>’s \u003ci>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/i>. The Oakland hip-hop artist, originally a member of Digital Underground in the ’90s, recently released her first solo album in eight years. After \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener noreferrer\">leaving a record deal and pursuing a second career as an educator\u003c/a>, Mystic is on her own timeline, making what she calls “healed Black woman music” outside the constraints of the industry. And \u003ci>Dreaming in Cursive\u003c/i> was well worth the wait. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906176","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a world full of suffering, Mystic finds an antidote by inviting her inner child out to play. While she acknowledges hard truths about violence and abuses of power, her activist message is also about nurturing feelings of love, hope and wonder. Those two themes are often intertwined in her work and life: Last month, to honor her late friend and collaborator Shock G, she and her Digital Underground family partnered with the community group \u003ca href=\"https://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> to distribute over 2,000 meals to Oakland residents in need. On \u003ci>Dreaming in Cursive\u003c/i>, the personal and collective are also linked, and the 14 tracks and poetic interludes present Mystic’s healing and the world’s healing as two parts of the same process.\u003c/p>\n\u003cp>“As somebody who has experienced trauma, it’s only through part of the healing process that I could return to that playfulness, that I could return to that imagination,” says Mystic, who intentionally incorporated children’s voices on the record to underscore the uplifting mood.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Dreaming in Cursive\u003c/i> celebrates the love of self, family, friends and community, and there’s a heavy emphasis on sensuality and romance as well. “Every song is actually a love song, but in a different context,” she says.\u003c/p>\n\u003cp>A standout track is “Butter (Green Light),” where Mystic raps over an uptempo, classic hip-hop beat with a warm guitar, as flirtatious giggles ring out in the background. “It’s a good thing, I’m in your sweet thing / The green light goes both ways / When I’m in your arms as the sun sets / It’s been a marvelous day,” she repeats before the chorus. The feel-good track captures a magical spark of mutual admiration, the kind of connection that makes you feel completely present in your loved one’s company.\u003c/p>\n\u003cp>“When I was younger, I could just think that you’re the one, right? I wasn’t too concerned whether it went both ways—I wanted it to go both ways. And I think part of the wisdom that I’ve gotten is when it doesn’t go both ways, that’s not where you’re supposed to be,” she says. “We each deserve to be loved passionately, to be celebrated, to be listened to and held and inspired.”\u003c/p>\n\u003cp>The interludes between tracks give insight into this evolution as Mystic has learned over the years to love and trust herself. On “Alive and Free (Interlude),” which precedes another charmingly sincere love song called “Magic (Let Yourself Go),” Mystic and her friend Angela chat about breaking free from expectations imposed onto women and leaving a scarcity mindset behind.\u003c/p>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We can be so caught in our struggle that it can feel like it’s enough to be here and alive,” she says. “But like, don’t you want to thrive?” When the two friends laugh together, it’s the sound of two people who’ve been through some things and risen above.\u003c/p>\n\u003cp>“Angela is one of my forever-and-a-day sisters,” Mystic says. They met over 20 years ago when Angela booked Digital Underground for a show in San Jose; they went on to be roommates and even toured together. On Mystic’s acclaimed 2001 debut album \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, Angela appears in an interlude just before the lead single “The Life,” an ode to people surviving oppression in America’s inner cities.\u003c/p>\n\u003cp>“We’ve been riding together ever since,” Mystic says. “And she has been through with me in my life as a support and as a sister from when I was still broken right to where I am now.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919270","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that the album is out, Mystic is working on her next endeavor: a short film she co-wrote, co-directed and stars in called \u003ci>A Black Love Trilogy\u003c/i>, which incorporates the forthcoming music videos for “Butter (Green Light),” “Still (Love)” and “Love (Always),” but is a standalone narrative. The project is in post-production, and she has plans to enter it into film festivals when it comes out in 2023.\u003c/p>\n\u003cp>“A lot of what we’re seeing [in pop culture] is love being transactional and toxic,” says Mystic. The film focuses on a couple finding their way back to each other after a rough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[It’s about] the redemption in Black love and the power of Black love to survive those challenges and to place it in the collective context, because our love doesn’t exist outside of our communities,” Mystic says. “I really just want to uplift healthy, loving, joyful love.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13919398/mystic-dreaming-in-cursive-the-girl-who-loved-sparklers","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_14230","arts_10278","arts_3477","arts_7827","arts_13240"],"featImg":"arts_13919399","label":"arts"},"arts_13906176":{"type":"posts","id":"arts_13906176","meta":{"index":"posts_1591205157","site":"arts","id":"13906176","score":null,"sort":[1638390237000]},"guestAuthors":[],"slug":"in-hip-hop-and-academia-mystic-defines-her-own-success-story","title":"In Hip-Hop and Academia, Mystic Defines Her Own Success Story","publishDate":1638390237,"format":"standard","headTitle":"In Hip-Hop and Academia, Mystic Defines Her Own Success Story | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>[dropcap]M[/dropcap]ystic sits in her backyard on the kind of warm, autumn afternoon that makes people remark at how good it is to live in Oakland, California. Dappled light shines through a lush canopy of persimmon, fig and guava trees. Her pet lovebird chirps in the distance, and she’s snacking on almonds between Zoom calls with young musicians she mentors.\u003c/p>\n\u003cp>This is the veteran hip-hop artist’s little oasis, away from the unruliness of the city, where she ponders the changing seasons of life, love and art.\u003c/p>\n\u003cp>It’s a good time for reflection. The recent loss of her longtime close friend and Digital Underground collaborator, Shock G, shook her deeply. That, and the grief of living during a global pandemic, prompted her to listen inward and ask herself what would fulfill her soul right now.\u003c/p>\n\u003cp>“I mean, shouldn’t we be doing what we love? Isn’t it the time now?” she asks in her naturally poetic cadence, lowering her voice into a near-whisper. Then, she starts to get louder and more passionate, as if proclaiming a manifesto: “If we’re artists, and art is part of our healing journey, then we should all be making art right now, right? There should be art flooding our speakers and our museums and our buildings, right? Public art.”\u003c/p>\n\u003cp>And for \u003ca href=\"http://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>, one of the roles of hip-hop as a public art form is to bring traumas out of darkness and into the light, where they can be examined and processed—maybe even let go—in communion with others. That’s the power of her classic album \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, whose 20th anniversary Mystic is celebrating this year. She recently took ownership of the master recordings and put out a \u003ca href=\"https://anchor.fm/thatgirlmystic/episodes/ep-e1529j3\" target=\"_blank\" rel=\"noopener noreferrer\">podcast series\u003c/a> looking back at its creation. Now, she’s gearing up for a vinyl rerelease in December.\u003c/p>\n\u003cp>[pullquote size='large' citation='Mystic on owning her masters']“I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”[/pullquote]\u003c/p>\n\u003cp>From the outside, it might look like Mystic is recommitting to her art after years of focusing on her other loves: academia and teaching. After \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> was released to great acclaim, she walked away from a record deal and took a different path that brought her to UC Berkeley and, eventually, the University of Oxford for her master’s degree in education. For years, she spent more time in kindergarten classrooms than on stage in front of fans. But to Mystic, these multiple pursuits are all part of one continuous quest to create, express and be of service.\u003c/p>\n\u003cp>“It takes life to make art,” she texts me after one of our conversations. “There are times of input and times of output. I take my time for input, and that includes healing, living, loving, working with children, school and community. When my art is ready to be born, that is output. That is all 😉.”\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t’s easy to see why \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> put Mystic, born Mandolyn Ludlum, on the precipice of major music industry success when it came out in 2001. The vulnerability and candor in her lyrics are magnetic as she zooms from sharp observations to intimate, personal confessions. She navigates a confusing labyrinth of pressures—both from an oppressive social order and within her own community—and carves out space for compassion and love for her people. Twenty years before the #MeToo movement and conversations about mental health became mainstream, Mystic rapped about losing her father to a drug overdose and surviving sexual abuse. She gave voice to struggles shrouded in stigma and shame.\u003c/p>\n\u003cp>“Part of what I hear back then is this fierce commitment to attempt to live and attempt to heal,” she says of her own recordings. “And so when I listen back to that and I read those lyrics, I just I want to tell her, ‘I love you.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1184030260/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>With its jazzy undertones and West Coast swing, \u003cem>Cuts for Luck\u003c/em> offers life-affirming moments of free-spirited fun and sexuality, too. Mystic’s delivery is smooth yet earnest, and she comes across as a warm, approachable, wise friend. It’s no wonder the album earned comparisons to \u003cem>The Miseducation of Lauryn Hill\u003c/em>—although to equate the work of two politically outspoken Gen X women in hip-hop would be an oversimplification.\u003c/p>\n\u003cp>With production from Zion I’s Amp Live, Hieroglyphics’ A-Plus, Shock G and several others, \u003cem>Cuts for Luck\u003c/em> is the result of a collaborative underground hip-hop scene that strived to push the boundaries of the craft. After living all over the West Coast, Mystic immersed herself in that community when she and her mom settled down in Oakland in 1989, the summer before her sophomore year of high school. (A-Plus was their neighbor across the street.) In her teens and 20s, she honed her skills at cyphers at friends’ houses, where they would rhyme, cook and drink beer.\u003c/p>\n\u003cp>“We were young and we were free, and it was the end of the decimation of communities from crack cocaine in the ’80s and Reaganomics,” she recalls. “There were still a lot of things going on and a lot of loss. But we were happy, you know. We were creating culture, creating hip-hop.”\u003c/p>\n\u003cfigure id=\"attachment_13906496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/du-crew-800x476.jpg\" alt=\"An archival film photo from the 1990s featuring a crew of hip-hop artists partying and laughing.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic and her Digital Underground family in the 1990s. \u003ccite>(Courtesy of Mystic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’90s, Mystic developed her stage presence at warehouse parties and open mics, where she’d rhyme alongside revered underground acts like Souls of Mischief. As she ascended to bigger stages, she opened for OutKast and Leaders of the New School, Busta Rhymes’ first group. Her lyrical prowess earned her respect, and eventually she became a member of Digital Underground (she first appears on their 1998 album \u003cem>Who Got the Gravy?\u003c/em>). \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, her solo debut, is as multifaceted as life in Oakland at the turn of the millennium.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he power, vulnerability and self-awareness Mystic projected on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> propelled her to great heights. She was nominated for a Grammy and a BET Award, and the music video for the lead single, “The Life,” was on TV.\u003c/p>\n\u003cp>https://youtu.be/pqw8tVLYhVI\u003c/p>\n\u003cp>In the 1990s, major labels signed a number of Bay Area artists, and West Coast hip-hop emerged as a commercial force. But the early-2000s era of illegal downloads caused chaos in the industry. Labels were merging and changing ownership, laying off staff and shelving artists’ work. The rerelease of \u003cem>Cuts for Luck and Scars for Freedom \u003c/em>was one such casualty.\u003c/p>\n\u003cp>Mystic originally released the album on the independent label Good Vibe, which had a joint venture deal with Jcor. When Jcor went out of business, Mystic and her Good Vibe team signed to DreamWorks. A rerelease was in the pipeline. It was supposed to introduce her to an even bigger audience—the first single, “\u003ca href=\"https://www.youtube.com/watch?v=XMINrw4aFSI\" target=\"_blank\" rel=\"noopener noreferrer\">Breathe (Better Days)\u003c/a>” produced by Kanye West and featuring Donell Jones, had been on the radio, and physical copies were sold in Japan. But the U.S. rollout kept getting stalled.\u003c/p>\n\u003cp>By 2004, Universal Music Group bought DreamWorks and absorbed it into Interscope, and her album was still in limbo. Mystic broke the emergency glass and hired a lawyer to get her out of her contract. And though she continued to create (she recorded the first track from her 2014 album \u003cem>Beautiful Resistance\u003c/em> after George Bush was declared winner of the 2004 election), Mystic set out on a new path towards higher education.\u003c/p>\n\u003cp>“Everybody was trying to figure out what was wrong with me,” she says. “My accountant, my lawyer, the label—everybody is like, ‘What is she doing,’ right? Because everything in front of her right now.”\u003c/p>\n\u003cp>Mystic knew she had to heed an internal calling. “I just felt like in order to not hate what I love, which is my art, that it was important for me to step back,” she says.\u003c/p>\n\u003cp>It wasn’t until 2019, after she finished her master’s degree, that Mystic discovered she owned the masters for \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>. And while artists like \u003ca href=\"https://www.nytimes.com/2021/02/11/arts/music/taylor-swift-rerecord-fearless.html\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a>, \u003ca href=\"https://people.com/music/ashanti-to-re-record-debut-album-after-gaining-ownership-of-her-masters/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashanti\u003c/a> and \u003ca href=\"https://www.essence.com/entertainment/anita-baker-says-you-can-stream-her-music-again/\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Baker\u003c/a> have had to fight to take ownership over their work, when Mystic went to Universal Music Group, it turned out all she had to do was ask.\u003c/p>\n\u003cp>“DreamWorks took what they owned,” she says. “Good Vibe wanted to keep the songs I had done with other artists on the label. Nobody kept the \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> album. But I didn’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic in her backyard oasis. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Would Mystic’s story have unfolded differently if she had known? She doesn’t like to dwell on it. But she still makes sure to tell her mentees, “Contact the label who owns [your masters] or the people you know to own them. They may not own them anymore. I may have just gotten really lucky, right, and the universe did that. I don’t know. But go and ask.”\u003c/p>\n\u003cp>Mystic poured herself into the songs on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, and for years listeners have told her that the album has helped them heal from their own life struggles. There’s power in reclaiming something so personally meaningful—to have full control over where the music is licensed and how much she gets paid, and to guarantee the album makes its way onto whatever new streaming platform emerges in the years to come.\u003c/p>\n\u003cp>“The songs that I wrote about my father, about the trauma that I’ve been through, about trying to navigate who I was as a young Black woman who was on a healing journey—like, that’s mine,” she says. “And I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”\u003c/p>\n\u003cp>[dropcap]M[/dropcap]ystic’s second album, \u003cem>Beautiful Resistance\u003c/em>, didn’t come until she was entering her second year at UC Berkeley, in 2014. An “untraditional” student now in her 30s, she was fully focused on getting a degree so she could be of service to children. After studying child development and cultural anthropology at Los Angeles Valley College—and a transformational trip to Haiti, where she learned about child exploitation in the aftermath of the 2010 earthquake—she mapped out a new goal of creating an international arts program that would empower children of color across borders.\u003c/p>\n\u003cp>Music wasn’t top of mind until she attended Ananya Roy’s global poverty class. Roy was one of Cal’s star faculty—a professor with a contagious passion for social justice, whose lectures students would talk about in dining halls and in dorm rooms late at night. (She’s since moved on to become the inaugural director of UCLA’s Institute on Inequality and Democracy.) Mystic was moved when she heard Roy’s lecture about “insurgent architects,” people who work from within institutions to create progressive social change. Insurgent architects could even be artists, she remembers Roy telling the class. Even though there were hundreds of other students in the lecture hall, Mystic felt like Roy was speaking directly to her.\u003c/p>\n\u003cp>Then it hit her: “I can be a scholar and an artist and an educator and an activist.” Taking academia seriously didn’t mean she had to put down music.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3617047025/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>After the lecture, Mystic emailed Roy a note and attached a few tracks. The professor liked what she heard and encouraged Mystic to keep making music. As she prepared to enter her second year at Berkeley, \u003cem>Beautiful Resistance\u003c/em> was finally out in the world, 10 years after she recorded the first song.\u003c/p>\n\u003cp>“I released it on a Tuesday and I started a new semester on a Thursday,” Mystic remembers. A deepening of the themes on \u003cem>Cuts for Luck\u003c/em>, it features beautifully sung affirmations of Black love and resistance, with vibe-y inflections of jazz and soul.\u003c/p>\n\u003cp>But as soon as Mystic got \u003cem>Beautiful Resistance\u003c/em> out of her system, her mind was back on school. She was on a mission. “I graduated from college with a 4.0, right? I say that not to be like, ‘Oh, pop my collar.’ I say that as a representation of how I worked to internalize the knowledge, to be of service to children and the community.\u003ci>”\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13906497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic_HieroDay_2013-0001-800x533.jpg\" alt=\"Mystic raps on stage at an outdoor festival.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Mystic performed at Hiero Day in 2013 just days before starting her first semester at UC Berkeley. \u003ccite>(Eric Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]hat devotion to helping young people heal and grow through art comes from a profound place within Mystic. When she was a teenager, she dropped out of high school. Her teachers labeled her as gifted and talented, but she felt unchallenged and uninspired at Oakland High School. She longed for a creative outlet: she’d skip school and go to the public library to read books about the music business. Not only that, but she was suffering in silence after surviving a rape. She began to check out mentally—she had a natural love of learning but wasn’t in an environment that encouraged her to thrive.\u003c/p>\n\u003cp>In her life as an educator, Mystic wants her students to have a different experience than she did, whether she’s teaching in a classroom, an after-school arts program or at San Quentin State Prison. “I don’t really care about your math or your English. I mean, I do,” she says. “But like, [I also care about] whether you ate. And whether your heart is broken today and whether you’re losing people in your community, whether there’s abuse in your home, everything that you are having to live through, particularly as a young child.”\u003c/p>\n\u003cp>[pullquote size='large' citation='Mystic']“Children are the most natural advocates for human rights and justice in the world.”[/pullquote]\u003c/p>\n\u003cp>Mystic’s studies and travels endowed her with an international perspective on the related struggles of colonized people across the world. (While at Berkeley, she did a semester abroad in South Africa, where she studied post-apartheid education reforms.) After graduating from Berkeley in 2015 with a degree in independent studies, a self-directed major where she wrote a thesis on public policy, education and global poverty, she set off to Oxford to get a master’s degree in comparative and international education.\u003c/p>\n\u003cp>“My interest in education in an international sense is because the inequalities that exist right here in East Oakland also exist really everywhere else,” she says. “I ended up focusing on how elementary school educators of color are using culturally relevant arts education with students of color. And knowing personally, the arts are transformative. They save lives.”\u003c/p>\n\u003cp>[dropcap]M[/dropcap]ystic has spent much of the past decade in the “input” phase of her creative process. But in October 2020, after a summer of racial justice uprisings and just before the 2020 election, she decided to put out new track: “We Are the People (All Around the Word).” She wanted a protest song parents could sing with their children, a song for intergenerational activist spaces. It’s as much an indictment of racist power structures as it is a prayer for a world where the next generation can thrive.\u003c/p>\n\u003cp>“Children are the most natural advocates for human rights and justice in the world,” she says.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1586769193/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Mystic won’t yet reveal what’s to come, but she’s been fully self-employed since September to focus on creating, cooking (another great love of hers), working with children and mentoring young people.\u003c/p>\n\u003cp>“We live in a social media age and everything happens in front of the camera,” she says. “I still will always be the artist who’s like, it’s really awesome when nobody knows what you’re doing, and nobody has any expectations and you can just be in your sacred journey.”\u003c/p>\n\u003cp>So what does this part of the path look like, making hip-hop at 47? Especially in an industry inundated with young, male perspectives? Mystic approaches it with a growth mindset.\u003c/p>\n\u003cp>“I still play with styles and I’m a master at what I do, but I’m always committed to, ‘How does that continue to develop?’” Mystic says. “And you talk about different things. I have seven godchildren. I have people with health issues that we don’t necessarily talk about, that happen when you get older: sister with fibroids, people with more cancer, people trying to determine, ‘Well, do I get to own a house?’ Our parents are getting older, right. And these are things we all think we know until we get there. And then when you get there, you go, ‘Oh, this is not really what I thought it was going to be.’” [aside postid='arts_13896288']\u003c/p>\n\u003cp>Confronting mortality has always been an element of hip-hop. Since the beginning, its most tremendous artists have come from neighborhoods where people become familiar with death and violence at too young an age. But with the deaths of Gen X hip-hop greats like Shock G, DMX and \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a> over the past year, health issues, aging and life’s precariousness are at the forefront of conversations among artists and fans.\u003c/p>\n\u003cp>“I was born within a year of the birth of hip-hop,” Mystic says. “What we’re doing right now has never been done before. It will always be youth-driven. But what [does it] look like to be an artist in our 40s or in our 50s?”\u003c/p>\n\u003cp>She pauses her train of thought to enumerate hip-hop’s many elder statespeople enjoying thriving careers: MC Lyte, Queen Latifah, E-40, Too $hort.\u003c/p>\n\u003cp>“You get there and you realize it’s a beautiful, full life,” she concludes, “if we’re blessed to have those opportunities. And particularly in our communities—with Black and Brown and Indigenous, economically vulnerable communities—it’s a lot of people who don’t live that long. And so in some ways, we’ve never seen what we’ve seen in hip-hop.”\u003c/p>\n\u003cp>In 1990, Shock G and Digital Underground famously rapped “\u003ca href=\"https://www.youtube.com/watch?v=31A6RjOxE74&ab_channel=TommyBoy\" target=\"_blank\" rel=\"noopener noreferrer\">Doowutchyalike\u003c/a>.” The time has come for Mystic, and all of us, to do what we love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"After leaving a record deal, Mystic's quest to heal took her to UC Berkeley and Oxford, and allowed her to create on her own terms.","status":"publish","parent":0,"modified":1705007435,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1184030260/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/album=3617047025/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/","https://bandcamp.com/EmbeddedPlayer/track=1586769193/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":52,"wordCount":3232},"headData":{"title":"In Hip-Hop and Academia, Mystic Defines Her Own Success Story | KQED","description":"After leaving a record deal, Mystic's quest to heal took her to UC Berkeley and Oxford, and allowed her to create on her own terms.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"In Hip-Hop and Academia, Mystic Defines Her Own Success Story","datePublished":"2021-12-01T20:23:57.000Z","dateModified":"2024-01-11T21:10:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ystic sits in her backyard on the kind of warm, autumn afternoon that makes people remark at how good it is to live in Oakland, California. Dappled light shines through a lush canopy of persimmon, fig and guava trees. Her pet lovebird chirps in the distance, and she’s snacking on almonds between Zoom calls with young musicians she mentors.\u003c/p>\n\u003cp>This is the veteran hip-hop artist’s little oasis, away from the unruliness of the city, where she ponders the changing seasons of life, love and art.\u003c/p>\n\u003cp>It’s a good time for reflection. The recent loss of her longtime close friend and Digital Underground collaborator, Shock G, shook her deeply. That, and the grief of living during a global pandemic, prompted her to listen inward and ask herself what would fulfill her soul right now.\u003c/p>\n\u003cp>“I mean, shouldn’t we be doing what we love? Isn’t it the time now?” she asks in her naturally poetic cadence, lowering her voice into a near-whisper. Then, she starts to get louder and more passionate, as if proclaiming a manifesto: “If we’re artists, and art is part of our healing journey, then we should all be making art right now, right? There should be art flooding our speakers and our museums and our buildings, right? Public art.”\u003c/p>\n\u003cp>And for \u003ca href=\"http://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>, one of the roles of hip-hop as a public art form is to bring traumas out of darkness and into the light, where they can be examined and processed—maybe even let go—in communion with others. That’s the power of her classic album \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, whose 20th anniversary Mystic is celebrating this year. She recently took ownership of the master recordings and put out a \u003ca href=\"https://anchor.fm/thatgirlmystic/episodes/ep-e1529j3\" target=\"_blank\" rel=\"noopener noreferrer\">podcast series\u003c/a> looking back at its creation. Now, she’s gearing up for a vinyl rerelease in December.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”","name":"pullquote","attributes":{"named":{"size":"large","citation":"Mystic on owning her masters","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the outside, it might look like Mystic is recommitting to her art after years of focusing on her other loves: academia and teaching. After \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> was released to great acclaim, she walked away from a record deal and took a different path that brought her to UC Berkeley and, eventually, the University of Oxford for her master’s degree in education. For years, she spent more time in kindergarten classrooms than on stage in front of fans. But to Mystic, these multiple pursuits are all part of one continuous quest to create, express and be of service.\u003c/p>\n\u003cp>“It takes life to make art,” she texts me after one of our conversations. “There are times of input and times of output. I take my time for input, and that includes healing, living, loving, working with children, school and community. When my art is ready to be born, that is output. That is all 😉.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s easy to see why \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> put Mystic, born Mandolyn Ludlum, on the precipice of major music industry success when it came out in 2001. The vulnerability and candor in her lyrics are magnetic as she zooms from sharp observations to intimate, personal confessions. She navigates a confusing labyrinth of pressures—both from an oppressive social order and within her own community—and carves out space for compassion and love for her people. Twenty years before the #MeToo movement and conversations about mental health became mainstream, Mystic rapped about losing her father to a drug overdose and surviving sexual abuse. She gave voice to struggles shrouded in stigma and shame.\u003c/p>\n\u003cp>“Part of what I hear back then is this fierce commitment to attempt to live and attempt to heal,” she says of her own recordings. “And so when I listen back to that and I read those lyrics, I just I want to tell her, ‘I love you.’”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1184030260/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>With its jazzy undertones and West Coast swing, \u003cem>Cuts for Luck\u003c/em> offers life-affirming moments of free-spirited fun and sexuality, too. Mystic’s delivery is smooth yet earnest, and she comes across as a warm, approachable, wise friend. It’s no wonder the album earned comparisons to \u003cem>The Miseducation of Lauryn Hill\u003c/em>—although to equate the work of two politically outspoken Gen X women in hip-hop would be an oversimplification.\u003c/p>\n\u003cp>With production from Zion I’s Amp Live, Hieroglyphics’ A-Plus, Shock G and several others, \u003cem>Cuts for Luck\u003c/em> is the result of a collaborative underground hip-hop scene that strived to push the boundaries of the craft. After living all over the West Coast, Mystic immersed herself in that community when she and her mom settled down in Oakland in 1989, the summer before her sophomore year of high school. (A-Plus was their neighbor across the street.) In her teens and 20s, she honed her skills at cyphers at friends’ houses, where they would rhyme, cook and drink beer.\u003c/p>\n\u003cp>“We were young and we were free, and it was the end of the decimation of communities from crack cocaine in the ’80s and Reaganomics,” she recalls. “There were still a lot of things going on and a lot of loss. But we were happy, you know. We were creating culture, creating hip-hop.”\u003c/p>\n\u003cfigure id=\"attachment_13906496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/du-crew-800x476.jpg\" alt=\"An archival film photo from the 1990s featuring a crew of hip-hop artists partying and laughing.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/du-crew.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic and her Digital Underground family in the 1990s. \u003ccite>(Courtesy of Mystic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’90s, Mystic developed her stage presence at warehouse parties and open mics, where she’d rhyme alongside revered underground acts like Souls of Mischief. As she ascended to bigger stages, she opened for OutKast and Leaders of the New School, Busta Rhymes’ first group. Her lyrical prowess earned her respect, and eventually she became a member of Digital Underground (she first appears on their 1998 album \u003cem>Who Got the Gravy?\u003c/em>). \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, her solo debut, is as multifaceted as life in Oakland at the turn of the millennium.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he power, vulnerability and self-awareness Mystic projected on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> propelled her to great heights. She was nominated for a Grammy and a BET Award, and the music video for the lead single, “The Life,” was on TV.\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/pqw8tVLYhVI'\n title='//www.youtube.com/embed/pqw8tVLYhVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the 1990s, major labels signed a number of Bay Area artists, and West Coast hip-hop emerged as a commercial force. But the early-2000s era of illegal downloads caused chaos in the industry. Labels were merging and changing ownership, laying off staff and shelving artists’ work. The rerelease of \u003cem>Cuts for Luck and Scars for Freedom \u003c/em>was one such casualty.\u003c/p>\n\u003cp>Mystic originally released the album on the independent label Good Vibe, which had a joint venture deal with Jcor. When Jcor went out of business, Mystic and her Good Vibe team signed to DreamWorks. A rerelease was in the pipeline. It was supposed to introduce her to an even bigger audience—the first single, “\u003ca href=\"https://www.youtube.com/watch?v=XMINrw4aFSI\" target=\"_blank\" rel=\"noopener noreferrer\">Breathe (Better Days)\u003c/a>” produced by Kanye West and featuring Donell Jones, had been on the radio, and physical copies were sold in Japan. But the U.S. rollout kept getting stalled.\u003c/p>\n\u003cp>By 2004, Universal Music Group bought DreamWorks and absorbed it into Interscope, and her album was still in limbo. Mystic broke the emergency glass and hired a lawyer to get her out of her contract. And though she continued to create (she recorded the first track from her 2014 album \u003cem>Beautiful Resistance\u003c/em> after George Bush was declared winner of the 2004 election), Mystic set out on a new path towards higher education.\u003c/p>\n\u003cp>“Everybody was trying to figure out what was wrong with me,” she says. “My accountant, my lawyer, the label—everybody is like, ‘What is she doing,’ right? Because everything in front of her right now.”\u003c/p>\n\u003cp>Mystic knew she had to heed an internal calling. “I just felt like in order to not hate what I love, which is my art, that it was important for me to step back,” she says.\u003c/p>\n\u003cp>It wasn’t until 2019, after she finished her master’s degree, that Mystic discovered she owned the masters for \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>. And while artists like \u003ca href=\"https://www.nytimes.com/2021/02/11/arts/music/taylor-swift-rerecord-fearless.html\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a>, \u003ca href=\"https://people.com/music/ashanti-to-re-record-debut-album-after-gaining-ownership-of-her-masters/\" target=\"_blank\" rel=\"noopener noreferrer\">Ashanti\u003c/a> and \u003ca href=\"https://www.essence.com/entertainment/anita-baker-says-you-can-stream-her-music-again/\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Baker\u003c/a> have had to fight to take ownership over their work, when Mystic went to Universal Music Group, it turned out all she had to do was ask.\u003c/p>\n\u003cp>“DreamWorks took what they owned,” she says. “Good Vibe wanted to keep the songs I had done with other artists on the label. Nobody kept the \u003cem>Cuts for Luck and Scars for Freedom\u003c/em> album. But I didn’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13906481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Mystic-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic in her backyard oasis. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Would Mystic’s story have unfolded differently if she had known? She doesn’t like to dwell on it. But she still makes sure to tell her mentees, “Contact the label who owns [your masters] or the people you know to own them. They may not own them anymore. I may have just gotten really lucky, right, and the universe did that. I don’t know. But go and ask.”\u003c/p>\n\u003cp>Mystic poured herself into the songs on \u003cem>Cuts for Luck and Scars for Freedom\u003c/em>, and for years listeners have told her that the album has helped them heal from their own life struggles. There’s power in reclaiming something so personally meaningful—to have full control over where the music is licensed and how much she gets paid, and to guarantee the album makes its way onto whatever new streaming platform emerges in the years to come.\u003c/p>\n\u003cp>“The songs that I wrote about my father, about the trauma that I’ve been through, about trying to navigate who I was as a young Black woman who was on a healing journey—like, that’s mine,” she says. “And I think the benefit of owning that means nobody else gets to sell my trauma. Nobody else gets to sell my healing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ystic’s second album, \u003cem>Beautiful Resistance\u003c/em>, didn’t come until she was entering her second year at UC Berkeley, in 2014. An “untraditional” student now in her 30s, she was fully focused on getting a degree so she could be of service to children. After studying child development and cultural anthropology at Los Angeles Valley College—and a transformational trip to Haiti, where she learned about child exploitation in the aftermath of the 2010 earthquake—she mapped out a new goal of creating an international arts program that would empower children of color across borders.\u003c/p>\n\u003cp>Music wasn’t top of mind until she attended Ananya Roy’s global poverty class. Roy was one of Cal’s star faculty—a professor with a contagious passion for social justice, whose lectures students would talk about in dining halls and in dorm rooms late at night. (She’s since moved on to become the inaugural director of UCLA’s Institute on Inequality and Democracy.) Mystic was moved when she heard Roy’s lecture about “insurgent architects,” people who work from within institutions to create progressive social change. Insurgent architects could even be artists, she remembers Roy telling the class. Even though there were hundreds of other students in the lecture hall, Mystic felt like Roy was speaking directly to her.\u003c/p>\n\u003cp>Then it hit her: “I can be a scholar and an artist and an educator and an activist.” Taking academia seriously didn’t mean she had to put down music.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3617047025/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>After the lecture, Mystic emailed Roy a note and attached a few tracks. The professor liked what she heard and encouraged Mystic to keep making music. As she prepared to enter her second year at Berkeley, \u003cem>Beautiful Resistance\u003c/em> was finally out in the world, 10 years after she recorded the first song.\u003c/p>\n\u003cp>“I released it on a Tuesday and I started a new semester on a Thursday,” Mystic remembers. A deepening of the themes on \u003cem>Cuts for Luck\u003c/em>, it features beautifully sung affirmations of Black love and resistance, with vibe-y inflections of jazz and soul.\u003c/p>\n\u003cp>But as soon as Mystic got \u003cem>Beautiful Resistance\u003c/em> out of her system, her mind was back on school. She was on a mission. “I graduated from college with a 4.0, right? I say that not to be like, ‘Oh, pop my collar.’ I say that as a representation of how I worked to internalize the knowledge, to be of service to children and the community.\u003ci>”\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13906497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Mystic_HieroDay_2013-0001-800x533.jpg\" alt=\"Mystic raps on stage at an outdoor festival.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Mystic performed at Hiero Day in 2013 just days before starting her first semester at UC Berkeley. \u003ccite>(Eric Nelson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hat devotion to helping young people heal and grow through art comes from a profound place within Mystic. When she was a teenager, she dropped out of high school. Her teachers labeled her as gifted and talented, but she felt unchallenged and uninspired at Oakland High School. She longed for a creative outlet: she’d skip school and go to the public library to read books about the music business. Not only that, but she was suffering in silence after surviving a rape. She began to check out mentally—she had a natural love of learning but wasn’t in an environment that encouraged her to thrive.\u003c/p>\n\u003cp>In her life as an educator, Mystic wants her students to have a different experience than she did, whether she’s teaching in a classroom, an after-school arts program or at San Quentin State Prison. “I don’t really care about your math or your English. I mean, I do,” she says. “But like, [I also care about] whether you ate. And whether your heart is broken today and whether you’re losing people in your community, whether there’s abuse in your home, everything that you are having to live through, particularly as a young child.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“Children are the most natural advocates for human rights and justice in the world.”","name":"pullquote","attributes":{"named":{"size":"large","citation":"Mystic","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mystic’s studies and travels endowed her with an international perspective on the related struggles of colonized people across the world. (While at Berkeley, she did a semester abroad in South Africa, where she studied post-apartheid education reforms.) After graduating from Berkeley in 2015 with a degree in independent studies, a self-directed major where she wrote a thesis on public policy, education and global poverty, she set off to Oxford to get a master’s degree in comparative and international education.\u003c/p>\n\u003cp>“My interest in education in an international sense is because the inequalities that exist right here in East Oakland also exist really everywhere else,” she says. “I ended up focusing on how elementary school educators of color are using culturally relevant arts education with students of color. And knowing personally, the arts are transformative. They save lives.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>ystic has spent much of the past decade in the “input” phase of her creative process. But in October 2020, after a summer of racial justice uprisings and just before the 2020 election, she decided to put out new track: “We Are the People (All Around the Word).” She wanted a protest song parents could sing with their children, a song for intergenerational activist spaces. It’s as much an indictment of racist power structures as it is a prayer for a world where the next generation can thrive.\u003c/p>\n\u003cp>“Children are the most natural advocates for human rights and justice in the world,” she says.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1586769193/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Mystic won’t yet reveal what’s to come, but she’s been fully self-employed since September to focus on creating, cooking (another great love of hers), working with children and mentoring young people.\u003c/p>\n\u003cp>“We live in a social media age and everything happens in front of the camera,” she says. “I still will always be the artist who’s like, it’s really awesome when nobody knows what you’re doing, and nobody has any expectations and you can just be in your sacred journey.”\u003c/p>\n\u003cp>So what does this part of the path look like, making hip-hop at 47? Especially in an industry inundated with young, male perspectives? Mystic approaches it with a growth mindset.\u003c/p>\n\u003cp>“I still play with styles and I’m a master at what I do, but I’m always committed to, ‘How does that continue to develop?’” Mystic says. “And you talk about different things. I have seven godchildren. I have people with health issues that we don’t necessarily talk about, that happen when you get older: sister with fibroids, people with more cancer, people trying to determine, ‘Well, do I get to own a house?’ Our parents are getting older, right. And these are things we all think we know until we get there. And then when you get there, you go, ‘Oh, this is not really what I thought it was going to be.’” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13896288","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Confronting mortality has always been an element of hip-hop. Since the beginning, its most tremendous artists have come from neighborhoods where people become familiar with death and violence at too young an age. But with the deaths of Gen X hip-hop greats like Shock G, DMX and \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a> over the past year, health issues, aging and life’s precariousness are at the forefront of conversations among artists and fans.\u003c/p>\n\u003cp>“I was born within a year of the birth of hip-hop,” Mystic says. “What we’re doing right now has never been done before. It will always be youth-driven. But what [does it] look like to be an artist in our 40s or in our 50s?”\u003c/p>\n\u003cp>She pauses her train of thought to enumerate hip-hop’s many elder statespeople enjoying thriving careers: MC Lyte, Queen Latifah, E-40, Too $hort.\u003c/p>\n\u003cp>“You get there and you realize it’s a beautiful, full life,” she concludes, “if we’re blessed to have those opportunities. And particularly in our communities—with Black and Brown and Indigenous, economically vulnerable communities—it’s a lot of people who don’t live that long. And so in some ways, we’ve never seen what we’ve seen in hip-hop.”\u003c/p>\n\u003cp>In 1990, Shock G and Digital Underground famously rapped “\u003ca href=\"https://www.youtube.com/watch?v=31A6RjOxE74&ab_channel=TommyBoy\" target=\"_blank\" rel=\"noopener noreferrer\">Doowutchyalike\u003c/a>.” The time has come for Mystic, and all of us, to do what we love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_14230","arts_10342","arts_10278","arts_831","arts_3477","arts_19347"],"featImg":"arts_13906479","label":"arts"},"arts_13817900":{"type":"posts","id":"arts_13817900","meta":{"index":"posts_1591205157","site":"arts","id":"13817900","score":null,"sort":[1513819155000]},"guestAuthors":[],"slug":"on-the-air-cy-rachael-gabe-and-sarahs-do-list-picks-for-dec-22-2017","title":"On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017","publishDate":1513819155,"format":"audio","headTitle":"On the Air: Cy, Rachael, Gabe and Sarah’s Do List Picks for Dec. 22, 2017 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"The Do List looks to the shows we're most excited about in 2018, including an Ingmar Bergman retrospective, a series on California design, a hip-hop exhibit and more.","status":"publish","parent":0,"modified":1705028858,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":254},"headData":{"title":"On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017 | KQED","description":"The Do List looks to the shows we're most excited about in 2018, including an Ingmar Bergman retrospective, a series on California design, a hip-hop exhibit and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017","datePublished":"2017-12-21T01:19:15.000Z","dateModified":"2024-01-12T03:07:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/thedolist/2017/12/TheDoListPodcastforDec222017.mp3","sticky":false,"path":"/arts/13817900/on-the-air-cy-rachael-gabe-and-sarahs-do-list-picks-for-dec-22-2017","audioDuration":648000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817900/on-the-air-cy-rachael-gabe-and-sarahs-do-list-picks-for-dec-22-2017","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_835","arts_74","arts_69","arts_235","arts_75","arts_70"],"tags":["arts_549","arts_977","arts_1006","arts_831","arts_21788","arts_1420","arts_3477","arts_596","arts_2755","arts_6012","arts_1381","arts_626"],"featImg":"arts_13817901","label":"arts_140"},"arts_13817905":{"type":"posts","id":"arts_13817905","meta":{"index":"posts_1591205157","site":"arts","id":"13817905","score":null,"sort":[1513817279000]},"guestAuthors":[],"slug":"oakland-museum-gives-hip-hop-the-respect-its-earned","title":"Oakland Museum Gives Hip-Hop the Respect it's Earned","publishDate":1513817279,"format":"standard","headTitle":"Oakland Museum Gives Hip-Hop the Respect it’s Earned | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"An Oakland museum exhibit takes a serious look at hip-hop through a Bay Area lens.","status":"publish","parent":0,"modified":1705028862,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":262},"headData":{"title":"Oakland Museum Gives Hip-Hop the Respect it's Earned | KQED","description":"An Oakland museum exhibit takes a serious look at hip-hop through a Bay Area lens.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Oakland Museum Gives Hip-Hop the Respect it's Earned","datePublished":"2017-12-21T00:47:59.000Z","dateModified":"2024-01-12T03:07:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13817905/oakland-museum-gives-hip-hop-the-respect-its-earned","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13817905/oakland-museum-gives-hip-hop-the-respect-its-earned","authors":["32"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_966","arts_69","arts_235","arts_75","arts_70"],"tags":["arts_1006","arts_3477","arts_596","arts_2755","arts_3478"],"featImg":"arts_13817906","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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