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1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: 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>Goapele has never been a typical R&B singer. From the start of her career in the late ’90s, the Oakland-born vocalist has defied categorization. Her breakthrough 2001 single “Closer” arrived amidst a landscape of slickly produced, radio-friendly R&B, hip-hop/soul hybrids, and then-trendy neo-soul. Produced by Amp Live of hip-hop duo Zion I, with keyboards by Mike Tiger, “Closer” broke the mold with its warm, organic sound and inspirational, near-universal message of moving closer to one’s dream.\u003c/p>\n\u003cp>The song quickly became a Bay Area staple, landing in KMEL rotation — a rarity for an independently released R&B song. Before long, “Closer” entered the station’s nightly “7 at 7” countdown, and began moving up in the rankings.\u003c/p>\n\u003cp>“There was one point where they were going down the list, and 50 Cent was number two,” the singer recalls today. “And I was like, damn, I was bumped off the list. And then it got to number one and I was so happy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tb9fkGCCV1o\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThat moment literally moved Goapele closer to her dreams. “It was just so affirming for my city to embrace what I was doing, and music that was so close to my heart, and music that I didn’t know what genre it fit into.” It was also a validation of the Bay’s independent spirit, rather than “emanating something that’s already out there,” she says.\u003c/p>\n\u003cp>“Closer” became an anthem for people achieving a goal or moving forward in life. “I’ve sung it at a lot of colleges over the years. I’ve sung at weddings. I’ve ran into a lot of people that said it was their high school graduation song,” the singer recalls. The song has been embraced by rappers and singers alike, including Drake, YG, Kendrick Lamar and Chris Brown, as well as countless freestyle and mix-tape emcees. “I’m really grateful that it has stood the test of time and resonated with people.”\u003c/p>\n\u003cp>[aside postID='arts_13923938']She attributes this phenomenon to “how the drums hit” and how Tiger’s chord progression “just gives a certain feeling of like, upliftment and frustration at the same time that I think so many of us relate to.” People also relate to its central theme of “striving to get to the next level. And it can feel like a struggle sometimes even in the midst of glimpses of, you know, success.”\u003c/p>\n\u003cp>The song remains a staple of Goapele’s live sets, even though she’s recorded plenty of new music in the 20-plus years since “Closer”’s release. She admits there was a time when she was over it, and wanted to focus on fresh material. But then she realized, “people in the audience really wanted to hear it. And I just, I had to take a step back and think about my favorite artists. Like, I love a lot of their old music. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg\" alt=\"a young Black woman in a black flowy top performs while smiling at a microphone\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1536x1268.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-2048x1691.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1920x1585.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at S.O.B.’s in New York City in 2003. \u003ccite>(ohnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goapele’s 2001 album of the same name sold approximately 65,000 units on consignment, launching her as a viable new artist with a strong following. Since then, the singer has released four full-length albums and an EP, numerous music videos and a lifestyle brand (Dreamseekers) while performing live all over the world. She’s carved out a lane as a true original, never following current trends, yet always relevant, as her range has expanded from soulful, slow-tempo ballads to pulse-pounding club jams.\u003c/p>\n\u003cp>Shortly after her live performance at the inaugural Days with Zahra festival in Napa — as she readies herself for the release of another album, titled \u003cem>Colors\u003c/em> — she reflected on her long association with Bay Area hip-hop.\u003c/p>\n\u003ch2>An agent for social change\u003c/h2>\n\u003cp>As it turns out, Bay Area hip-hop was an important part of Goapele’s experience growing up, one that shaped her path as an artist. The first local rapper she recalls listening to was MC Hammer, when she was in junior high school, followed by Hieroglyphics. By the time she got to high school, she says, “for me it was all about underground hip-hop.”\u003c/p>\n\u003cp>Early in her career, she sang over hip-hop instrumentals at local spots like Mingles and La Peña. “My brother was a DJ. And so, you know, dub plates were popular.” A dub plate-style version sung over the remix of Supercat’s “Dolly My Baby” turned into one of her first singles, “Childhood Drama” — which she recently sung live in Jamaica with DJ Shortkut after not performing it in years.\u003c/p>\n\u003cp>Goapele’s first local rap collaborations were with Zion I, \u003ca href=\"https://youtu.be/Y1oB29QockI\">E-40\u003c/a>, and Hieroglyphics members A-Plus, Casual, and \u003ca href=\"https://youtu.be/CEKiGFLJRoA\">Pep Love\u003c/a>; the Oakland hip-hop collective also helped her independent label Skyblaze get distribution. She went on to team up with many Bay artists including \u003ca href=\"https://www.youtube.com/watch?v=RHXi7Cr9sIQ\">Mac Mall\u003c/a>, Clyde Carson, and Keak Da Sneak, and, more recently, \u003ca href=\"https://www.youtube.com/watch?v=ksJxJ6TV8do\">Rexx Life Raj\u003c/a>. “I was definitely surrounded by a lot of rappers,” she reminisces.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CEKiGFLJRoA\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nShe’s since recorded with national artists like Dwele and West Coast rap legends \u003ca href=\"https://www.youtube.com/watch?v=_PKwYCW7IDc\">Snoop Dogg\u003c/a>, Aceyalone and Planet Asia. But she says she won’t work with just any artist. “My criteria for working with anyone is just that it’s a positive vibe and we mutually want to work together… I’m open to, you know, so many different stories. But when it comes to the music I’m putting out, I just don’t want it to have a negative effect on the culture.”\u003c/p>\n\u003cp>Goapele’s standards for collaboration and her value system reflect both her cultural background and the values of her native region — known for its activists, community-based organizations and political and social discourse in its artistic output and cultural aesthetic.\u003c/p>\n\u003cp>[aside postID='arts_13250203']As the daughter of South African exile Douglas Mohlabane and the sister of Namane Mohlabane — a co-founder of DJ collective Local 1200 — activism came naturally to Goapele. Her father was active in the anti-apartheid movement and a mainstay of a Bay Area South African exile community, while Local 1200 was known not just for their DJ skills, but their support of social justice causes.\u003c/p>\n\u003cp>During the campaign against California’s draconian youth crime bill, \u003ca href=\"https://lao.ca.gov/ballot/2000/21_03_2000.html\">Prop. 21\u003c/a>, Goapele collaborated with singer Kimiko Joy and female emcee Toy for an updated version of Billie Holiday’s “Don’t Explain” that tackled the weighty issue of the criminalization of youth and the prison-industrial complex. The title track of her 2005 major label debut, “\u003ca href=\"https://www.youtube.com/watch?v=ulxiCibEfgc\">Change It All\u003c/a>,” addressed school closures, economic inequality, and the need to do better as a society. In 2006, she was named a Human Rights Cultural Hero by the Ella Baker Center for Human Rights during the nonprofit’s 10th anniversary celebration.\u003c/p>\n\u003cp>While not an overtly political artist who spouts rhetoric and ideology at every opportunity, she’s stayed down and still “got a pound for the cause,” to paraphrase Digital Underground’s Shock G — another of the artists she says inspired her when she was coming up.\u003c/p>\n\u003cfigure id=\"attachment_13932559\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\" alt=\"a Black woman with short hair in a suit poses in front of a display about the Black Power movement\" width=\"729\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249-160x225.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele poses in the Grammy Museum in Los Angeles after a 2012 performance. \u003ccite>(Mark Sullivan/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transformative change and revolutionary content can take many forms — including music that adds something different and compelling to the sonic landscape. At the time of its release, Zion-I’s 2003 album \u003cem>Deep Water Slang V2.0\u003c/em> was dismissed by some critics who had trouble relating to its diverse influences and experimental qualities. Those qualities, however, are precisely what make the album stand out some 20 years later.\u003c/p>\n\u003cp>Goapele contributed vocals to three of the album’s standout tracks — “Flow,” “Sorry” and “Boom Bip.” Producer Amp Live plays around with ambient textures and non-cliched sonic approaches that seemingly expand hip-hop’s reach; meanwhile, Goapele supplies the hooks, reinforcing Zumbi’s conscious manifestos and emotional Zen-states.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gsOQdKhEsFQ\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“So don’t fight the feeling / what we got right here / we ain’t going nowhere / open your mind / what we got right here / we ain’t going nowhere,” she sings on “Boom Bip” — subverting a pimpish credo associated with Too Short and Rappin’ 4-Tay to express a more holistic and spiritually affirming mentality. On “Flow,” the hook places the word “flow,” sung by Goapele, up against a bed of minimal keyboards, upright bass, and Vin Roc’s turntable cuts. Her vocals on “Sorry” are buried deep within a mix of flute, viola, electric piano and cello — all of which contribute to an emotionally resonant song that’s more about feeling than swagger.\u003c/p>\n\u003cp>Despite “Flow” being one of her favorite collaborations, Goapele says can’t quite recall how it came about. “I worked with Zion I off and on for years,” she says. “We even had a studio right next to them at 880 (Studios in Oakland)… Amp just like, had a way of creating things like a puzzle. And sometimes, I would come in there and record an idea over a piece of a song. And by the time I heard it, you know, he had, like, made this whole new arrangement.”\u003c/p>\n\u003cp>[aside postID='forum_2010101889218']Then there was “\u003ca href=\"https://www.youtube.com/watch?v=CEKiGFLJRoA\">The Daze\u003c/a>,” a track from her \u003cem>Even Closer\u003c/em> album featuring Zion I and Casual of Hieroglyphics, which was recorded at Amp’s home studio in El Cerrito.\u003c/p>\n\u003cp>“I was walking into the home studio and Amp had the vibe, you know, already set in. And Steve (Zumbi) was working on his verses. And I was just like, adding whatever I could… I can remember the night that we recorded that just by the raw energy. And it was really just like a couple takes, you know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg\" alt=\"a young Black woman in a white and red dress and black and white sneakers performs onstage at a music festival in Golden Gate Park\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs onstage during the 2008 Outside Lands Festival in San Francisco. \u003ccite>(Jason Merritt/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ten years later, in 2013, Goapele again collaborated with Zion I on the sublime hip-hop love song, “Life’s Work” — which eschews playerisms in favor of committed monogamy. Zumbi’s love-affirming testimonials contrast beautifully with Goapele’s romantic vocals, and it’s difficult to imagine the song working as well without her contribution.\u003c/p>\n\u003cp>Goapele’s association with Hieroglyphics also spanned many projects. She’s made songs with Pep Love, Casual and A-Plus, along with the single and video, “Soweto,” which features the entire crew. She remembers Hiero had rented a house with a home studio in Venice Beach, and A-Plus asked her to drop some vocals on a track he was working on. “The guitar was just giving me African highlife vibes,” and the song’s hook, she says, was “just what I was feeling like, no matter where you go. We’re the same. We have the same story.”\u003c/p>\n\u003cp>The video, she recalls, was shot in Joshua Tree National Park on one of the hottest days of the year — the temperature reached 120 Fahrenheit. “I almost did not make it through that video, but the video ended up being beautiful.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XJHtCG5wqYs\u003c/p>\n\u003ch2>The Motherland and the Bay\u003c/h2>\n\u003cp>One of Goapele’s more interesting collaborations came about in 2010, when she worked with South African emcee Hip Hop Pantsula for “\u003ca href=\"https://www.youtube.com/watch?v=IpEPNCz98_c\">Victory\u003c/a>,” a song recorded in English, Setswana, and Xhosa, which drew attention to humanitarian efforts in South Africa and the African Diaspora. Pantsula, she says, “was incredibly talented, and I want to say kind of spearheaded or was big in the Motswako movement, which was a South African/SWANA hip-hop scene.”\u003c/p>\n\u003cp>Pantsula, aka Double HP, who joined the ancestors in 2018, was hailed as a “musical icon” by the African National Congress. Goapele remembers being in South Africa and seeing some of his concerts.\u003c/p>\n\u003cp>“There was a lot of rapping in Setswana and English… But the song “Victory,” it was just so exciting that the World Cup was in South Africa. I definitely was feeling a sense of pride even from afar. And I went out there to perform at the MAMA Awards. It was like an MTV Africa show, and they flew me out there along with The Game, and Clyde Carson from the Bay, who I also worked with on a bunch of other songs.”\u003c/p>\n\u003cfigure id=\"attachment_13932534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932534 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg\" alt=\"a Black woman with braids smiles holding a microphone on stage\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to draw a comparison between South African and Bay Area hip-hop, she says, “There wasn’t a huge music industry in the Bay Area. There’s a lot of labels in South Africa, but I feel like people have really had to create their thing from the ground up. And so there’s like maybe an organic feel to it and an edge and a soulfulness that it has.”\u003c/p>\n\u003cp>She recalls listening to the South African band Shava, who sing in her native tongue of Setswana. “The production was just so beautiful and vibey. The drums are always a little behind the beat. There’s similar production and feels that I think probably come out of a context of influences, like the culture just being soulful and raw and there’s definitely a spirit of resistance, you know?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IpEPNCz98_c\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“But in South Africa, it’s the triumph and struggle that’s still there. Like, my dad had to leave because of the apartheid system and, in the nineties, so much turmoil and turnover in leadership. Equality is something that’s still trying to come about. There’s so much economic disparity. People were pushed out to almost like, reservations … I came out of that.”\u003c/p>\n\u003cp>That struggle has bred not just resistance, but cultural resilience. “There’s so much depth and raw talent that has come back, persevered through that. So there’s something to be said for that. How that affects the sound and the vibe.”\u003c/p>\n\u003cp>In other words, in some ways, South Africa is exactly like the Bay Area. But in other ways, it’s completely different. Goapele remains connected to both places and cultures. It’s who she is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.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>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Oakland-raised singer reflects on Bay Area hip-hop's abiding influence.","status":"publish","parent":0,"modified":1705005197,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":2598},"headData":{"title":"Goapele: Closer to Hip-Hop Than You Knew | KQED","description":"The Oakland-raised singer reflects on Bay Area hip-hop's abiding influence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Goapele: Closer to Hip-Hop Than You Knew","datePublished":"2023-08-02T20:29:27.000Z","dateModified":"2024-01-11T20:33:17.000Z","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/13932465/goapele-closer-to-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13932533\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.MAIN_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: 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>Goapele has never been a typical R&B singer. From the start of her career in the late ’90s, the Oakland-born vocalist has defied categorization. Her breakthrough 2001 single “Closer” arrived amidst a landscape of slickly produced, radio-friendly R&B, hip-hop/soul hybrids, and then-trendy neo-soul. Produced by Amp Live of hip-hop duo Zion I, with keyboards by Mike Tiger, “Closer” broke the mold with its warm, organic sound and inspirational, near-universal message of moving closer to one’s dream.\u003c/p>\n\u003cp>The song quickly became a Bay Area staple, landing in KMEL rotation — a rarity for an independently released R&B song. Before long, “Closer” entered the station’s nightly “7 at 7” countdown, and began moving up in the rankings.\u003c/p>\n\u003cp>“There was one point where they were going down the list, and 50 Cent was number two,” the singer recalls today. “And I was like, damn, I was bumped off the list. And then it got to number one and I was so happy.”\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/Tb9fkGCCV1o'\n title='//www.youtube.com/embed/Tb9fkGCCV1o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nThat moment literally moved Goapele closer to her dreams. “It was just so affirming for my city to embrace what I was doing, and music that was so close to my heart, and music that I didn’t know what genre it fit into.” It was also a validation of the Bay’s independent spirit, rather than “emanating something that’s already out there,” she says.\u003c/p>\n\u003cp>“Closer” became an anthem for people achieving a goal or moving forward in life. “I’ve sung it at a lot of colleges over the years. I’ve sung at weddings. I’ve ran into a lot of people that said it was their high school graduation song,” the singer recalls. The song has been embraced by rappers and singers alike, including Drake, YG, Kendrick Lamar and Chris Brown, as well as countless freestyle and mix-tape emcees. “I’m really grateful that it has stood the test of time and resonated with people.”\u003c/p>\n\u003cp>\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>She attributes this phenomenon to “how the drums hit” and how Tiger’s chord progression “just gives a certain feeling of like, upliftment and frustration at the same time that I think so many of us relate to.” People also relate to its central theme of “striving to get to the next level. And it can feel like a struggle sometimes even in the midst of glimpses of, you know, success.”\u003c/p>\n\u003cp>The song remains a staple of Goapele’s live sets, even though she’s recorded plenty of new music in the 20-plus years since “Closer”’s release. She admits there was a time when she was over it, and wanted to focus on fresh material. But then she realized, “people in the audience really wanted to hear it. And I just, I had to take a step back and think about my favorite artists. Like, I love a lot of their old music. You know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg\" alt=\"a young Black woman in a black flowy top performs while smiling at a microphone\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1536x1268.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-2048x1691.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-452943763-1920x1585.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at S.O.B.’s in New York City in 2003. \u003ccite>(ohnny Nunez/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Goapele’s 2001 album of the same name sold approximately 65,000 units on consignment, launching her as a viable new artist with a strong following. Since then, the singer has released four full-length albums and an EP, numerous music videos and a lifestyle brand (Dreamseekers) while performing live all over the world. She’s carved out a lane as a true original, never following current trends, yet always relevant, as her range has expanded from soulful, slow-tempo ballads to pulse-pounding club jams.\u003c/p>\n\u003cp>Shortly after her live performance at the inaugural Days with Zahra festival in Napa — as she readies herself for the release of another album, titled \u003cem>Colors\u003c/em> — she reflected on her long association with Bay Area hip-hop.\u003c/p>\n\u003ch2>An agent for social change\u003c/h2>\n\u003cp>As it turns out, Bay Area hip-hop was an important part of Goapele’s experience growing up, one that shaped her path as an artist. The first local rapper she recalls listening to was MC Hammer, when she was in junior high school, followed by Hieroglyphics. By the time she got to high school, she says, “for me it was all about underground hip-hop.”\u003c/p>\n\u003cp>Early in her career, she sang over hip-hop instrumentals at local spots like Mingles and La Peña. “My brother was a DJ. And so, you know, dub plates were popular.” A dub plate-style version sung over the remix of Supercat’s “Dolly My Baby” turned into one of her first singles, “Childhood Drama” — which she recently sung live in Jamaica with DJ Shortkut after not performing it in years.\u003c/p>\n\u003cp>Goapele’s first local rap collaborations were with Zion I, \u003ca href=\"https://youtu.be/Y1oB29QockI\">E-40\u003c/a>, and Hieroglyphics members A-Plus, Casual, and \u003ca href=\"https://youtu.be/CEKiGFLJRoA\">Pep Love\u003c/a>; the Oakland hip-hop collective also helped her independent label Skyblaze get distribution. She went on to team up with many Bay artists including \u003ca href=\"https://www.youtube.com/watch?v=RHXi7Cr9sIQ\">Mac Mall\u003c/a>, Clyde Carson, and Keak Da Sneak, and, more recently, \u003ca href=\"https://www.youtube.com/watch?v=ksJxJ6TV8do\">Rexx Life Raj\u003c/a>. “I was definitely surrounded by a lot of rappers,” she reminisces.\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/CEKiGFLJRoA'\n title='//www.youtube.com/embed/CEKiGFLJRoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nShe’s since recorded with national artists like Dwele and West Coast rap legends \u003ca href=\"https://www.youtube.com/watch?v=_PKwYCW7IDc\">Snoop Dogg\u003c/a>, Aceyalone and Planet Asia. But she says she won’t work with just any artist. “My criteria for working with anyone is just that it’s a positive vibe and we mutually want to work together… I’m open to, you know, so many different stories. But when it comes to the music I’m putting out, I just don’t want it to have a negative effect on the culture.”\u003c/p>\n\u003cp>Goapele’s standards for collaboration and her value system reflect both her cultural background and the values of her native region — known for its activists, community-based organizations and political and social discourse in its artistic output and cultural aesthetic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13250203","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As the daughter of South African exile Douglas Mohlabane and the sister of Namane Mohlabane — a co-founder of DJ collective Local 1200 — activism came naturally to Goapele. Her father was active in the anti-apartheid movement and a mainstay of a Bay Area South African exile community, while Local 1200 was known not just for their DJ skills, but their support of social justice causes.\u003c/p>\n\u003cp>During the campaign against California’s draconian youth crime bill, \u003ca href=\"https://lao.ca.gov/ballot/2000/21_03_2000.html\">Prop. 21\u003c/a>, Goapele collaborated with singer Kimiko Joy and female emcee Toy for an updated version of Billie Holiday’s “Don’t Explain” that tackled the weighty issue of the criminalization of youth and the prison-industrial complex. The title track of her 2005 major label debut, “\u003ca href=\"https://www.youtube.com/watch?v=ulxiCibEfgc\">Change It All\u003c/a>,” addressed school closures, economic inequality, and the need to do better as a society. In 2006, she was named a Human Rights Cultural Hero by the Ella Baker Center for Human Rights during the nonprofit’s 10th anniversary celebration.\u003c/p>\n\u003cp>While not an overtly political artist who spouts rhetoric and ideology at every opportunity, she’s stayed down and still “got a pound for the cause,” to paraphrase Digital Underground’s Shock G — another of the artists she says inspired her when she was coming up.\u003c/p>\n\u003cfigure id=\"attachment_13932559\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-138528249.jpg\" alt=\"a Black woman with short hair in a suit poses in front of a display about the Black Power movement\" width=\"729\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-138528249-160x225.jpg 160w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele poses in the Grammy Museum in Los Angeles after a 2012 performance. \u003ccite>(Mark Sullivan/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Transformative change and revolutionary content can take many forms — including music that adds something different and compelling to the sonic landscape. At the time of its release, Zion-I’s 2003 album \u003cem>Deep Water Slang V2.0\u003c/em> was dismissed by some critics who had trouble relating to its diverse influences and experimental qualities. Those qualities, however, are precisely what make the album stand out some 20 years later.\u003c/p>\n\u003cp>Goapele contributed vocals to three of the album’s standout tracks — “Flow,” “Sorry” and “Boom Bip.” Producer Amp Live plays around with ambient textures and non-cliched sonic approaches that seemingly expand hip-hop’s reach; meanwhile, Goapele supplies the hooks, reinforcing Zumbi’s conscious manifestos and emotional Zen-states.\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/gsOQdKhEsFQ'\n title='//www.youtube.com/embed/gsOQdKhEsFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“So don’t fight the feeling / what we got right here / we ain’t going nowhere / open your mind / what we got right here / we ain’t going nowhere,” she sings on “Boom Bip” — subverting a pimpish credo associated with Too Short and Rappin’ 4-Tay to express a more holistic and spiritually affirming mentality. On “Flow,” the hook places the word “flow,” sung by Goapele, up against a bed of minimal keyboards, upright bass, and Vin Roc’s turntable cuts. Her vocals on “Sorry” are buried deep within a mix of flute, viola, electric piano and cello — all of which contribute to an emotionally resonant song that’s more about feeling than swagger.\u003c/p>\n\u003cp>Despite “Flow” being one of her favorite collaborations, Goapele says can’t quite recall how it came about. “I worked with Zion I off and on for years,” she says. “We even had a studio right next to them at 880 (Studios in Oakland)… Amp just like, had a way of creating things like a puzzle. And sometimes, I would come in there and record an idea over a piece of a song. And by the time I heard it, you know, he had, like, made this whole new arrangement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"forum_2010101889218","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Then there was “\u003ca href=\"https://www.youtube.com/watch?v=CEKiGFLJRoA\">The Daze\u003c/a>,” a track from her \u003cem>Even Closer\u003c/em> album featuring Zion I and Casual of Hieroglyphics, which was recorded at Amp’s home studio in El Cerrito.\u003c/p>\n\u003cp>“I was walking into the home studio and Amp had the vibe, you know, already set in. And Steve (Zumbi) was working on his verses. And I was just like, adding whatever I could… I can remember the night that we recorded that just by the raw energy. And it was really just like a couple takes, you know what I mean?”\u003c/p>\n\u003cfigure id=\"attachment_13932557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg\" alt=\"a young Black woman in a white and red dress and black and white sneakers performs onstage at a music festival in Golden Gate Park\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-106227057.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs onstage during the 2008 Outside Lands Festival in San Francisco. \u003ccite>(Jason Merritt/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ten years later, in 2013, Goapele again collaborated with Zion I on the sublime hip-hop love song, “Life’s Work” — which eschews playerisms in favor of committed monogamy. Zumbi’s love-affirming testimonials contrast beautifully with Goapele’s romantic vocals, and it’s difficult to imagine the song working as well without her contribution.\u003c/p>\n\u003cp>Goapele’s association with Hieroglyphics also spanned many projects. She’s made songs with Pep Love, Casual and A-Plus, along with the single and video, “Soweto,” which features the entire crew. She remembers Hiero had rented a house with a home studio in Venice Beach, and A-Plus asked her to drop some vocals on a track he was working on. “The guitar was just giving me African highlife vibes,” and the song’s hook, she says, was “just what I was feeling like, no matter where you go. We’re the same. We have the same story.”\u003c/p>\n\u003cp>The video, she recalls, was shot in Joshua Tree National Park on one of the hottest days of the year — the temperature reached 120 Fahrenheit. “I almost did not make it through that video, but the video ended up being beautiful.”\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/XJHtCG5wqYs'\n title='//www.youtube.com/embed/XJHtCG5wqYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Motherland and the Bay\u003c/h2>\n\u003cp>One of Goapele’s more interesting collaborations came about in 2010, when she worked with South African emcee Hip Hop Pantsula for “\u003ca href=\"https://www.youtube.com/watch?v=IpEPNCz98_c\">Victory\u003c/a>,” a song recorded in English, Setswana, and Xhosa, which drew attention to humanitarian efforts in South Africa and the African Diaspora. Pantsula, she says, “was incredibly talented, and I want to say kind of spearheaded or was big in the Motswako movement, which was a South African/SWANA hip-hop scene.”\u003c/p>\n\u003cp>Pantsula, aka Double HP, who joined the ancestors in 2018, was hailed as a “musical icon” by the African National Congress. Goapele remembers being in South Africa and seeing some of his concerts.\u003c/p>\n\u003cp>“There was a lot of rapping in Setswana and English… But the song “Victory,” it was just so exciting that the World Cup was in South Africa. I definitely was feeling a sense of pride even from afar. And I went out there to perform at the MAMA Awards. It was like an MTV Africa show, and they flew me out there along with The Game, and Clyde Carson from the Bay, who I also worked with on a bunch of other songs.”\u003c/p>\n\u003cfigure id=\"attachment_13932534\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932534 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg\" alt=\"a Black woman with braids smiles holding a microphone on stage\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Goapele.live_.EKA_-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Goapele performs at the Days With Zahrah Getaway in Napa, May 2023. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to draw a comparison between South African and Bay Area hip-hop, she says, “There wasn’t a huge music industry in the Bay Area. There’s a lot of labels in South Africa, but I feel like people have really had to create their thing from the ground up. And so there’s like maybe an organic feel to it and an edge and a soulfulness that it has.”\u003c/p>\n\u003cp>She recalls listening to the South African band Shava, who sing in her native tongue of Setswana. “The production was just so beautiful and vibey. The drums are always a little behind the beat. There’s similar production and feels that I think probably come out of a context of influences, like the culture just being soulful and raw and there’s definitely a spirit of resistance, you know?\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/IpEPNCz98_c'\n title='//www.youtube.com/embed/IpEPNCz98_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“But in South Africa, it’s the triumph and struggle that’s still there. Like, my dad had to leave because of the apartheid system and, in the nineties, so much turmoil and turnover in leadership. Equality is something that’s still trying to come about. There’s so much economic disparity. People were pushed out to almost like, reservations … I came out of that.”\u003c/p>\n\u003cp>That struggle has bred not just resistance, but cultural resilience. “There’s so much depth and raw talent that has come back, persevered through that. So there’s something to be said for that. How that affects the sound and the vibe.”\u003c/p>\n\u003cp>In other words, in some ways, South Africa is exactly like the Bay Area. But in other ways, it’s completely different. Goapele remains connected to both places and cultures. It’s who she is.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.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>\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/13932465/goapele-closer-to-hip-hop","authors":["11839"],"categories":["arts_1","arts_69"],"tags":["arts_1828","arts_2284","arts_3539","arts_19347","arts_15217","arts_15215"],"featImg":"arts_13932536","label":"source_arts_13932465"},"arts_13928997":{"type":"posts","id":"arts_13928997","meta":{"index":"posts_1591205157","site":"arts","id":"13928997","score":null,"sort":[1683885626000]},"guestAuthors":[],"slug":"pens-pals-writing-sci-fi-in-south-africa","title":"Pen’s Pals: Writing Sci-Fi in South Africa","publishDate":1683885626,"format":"audio","headTitle":"Pen’s Pals: Writing Sci-Fi in South Africa | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>After growing up in Southern California, Anwar Bey spent his formative young adult years in San Francisco. He moved to the Bay Area to live out his dream of creating video games. Then in 2021, after spending a decade in Northern California, he moved to Johannesburg, South Africa. That’s where he’s found the clarity to write about the future.\u003c/p>\n\u003cp>Bey is the author of a series of sci-fi stories titled \u003cem>The Book of WOLDU. \u003c/em>It’s an exploration of love, family and intergalactic time travel from the perspective of an East African family.\u003c/p>\n\u003cfigure id=\"attachment_13928999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928999 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-800x800.png\" alt=\"An image of Anwar Bey's personal Black superhero, SpaceBEY\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-1920x1920.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Anwar Bey’s personal Black superhero, SpaceBEY \u003ccite>(Sean Usyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bey says his time spent traveling the continent, talking to people and experiencing life from a new perspective has allowed him to pen these stories and further develop his multimedia platform, \u003ca href=\"https://www.instagram.com/plasmaworlds/\" target=\"_blank\" rel=\"noopener\">PLASMAWorlds. \u003c/a>\u003c/p>\n\u003cp>When asked why it’s important to tell stories about Black futures, he jokingly responds, “Because we’re out here.” He follows up by saying, “… \u003cspan style=\"font-weight: 400\">we’re going to exist in the future just as powerfully as we exist in the present and so that’s why I’m creating this work to inspire.”\u003c/span>\u003c/p>\n\u003cp>Reflecting on what he’d tell someone about what he’s learned from his travels, Bey says, “\u003cspan style=\"font-weight: 400\">There’s love out there, and it’s just waiting for you to come and receive it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13929000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929000 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20191201135438_8D1A6907-800x533.jpg\" alt=\"Anwar Bey sitting in the lotus position with his arms up while posing in front of a waterfall in South Africa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anwar Bey sitting in front of a waterfall in South Africa. \u003ccite>(Dumani Khuzwayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4815838840&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/42Azm56\">\u003cb>Read the transcript\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Below are lightly edited excerpts from my conversation with Anwar Bey\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">What inspired your trip?\u003c/span>\u003c/p>\n\u003cp>\u003cb>BEY:\u003c/b>\u003cspan style=\"font-weight: 400\"> I came out to South Africa in 2016. My friend Zim used to run this company that she founded called Travel Noire. It was an on-site travel group experience and I signed up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I went to Cape Town and I had a good time with the group, but when I came to Johannesburg, that’s when it really hit me that like, oh, there’s like magic here in the form of just seeing and being within an endless sea of African people that are artists, that are entrepreneurs, that are celebrating success and struggle and just evolving. \u003c/span>\u003cspan style=\"font-weight: 400\">It was very welcoming and I never felt as connected to any place. That trip just really solidified that the continent of Africa, as a whole, is really a place that was for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW\u003c/b>\u003cspan style=\"font-weight: 400\">: How do you even go about creating these worlds and scenarios? How do you even make that up? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>BEY: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been working as a professional video game developer, focused on creating 3D characters for games and animation for the past like 15 plus years, so I’m just really deep into this kind of entertainment, science fiction stories, cinematic visuals. I think it’s a mix of that and my travels. Through my travels I see the breadth of humanity. I see humanity’s highs and I see humanity’s lows, and I see the in-betweens. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">If you were to send a letter to back home, what message would you share with people?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>BEY\u003c/b>\u003cspan style=\"font-weight: 400\">: I think that for the people that are considered Black and struggle, it’s because home is on the continent. It’s the place where you will be surrounded by people that look to you in the form of interest and intrigue, with care and love and with gentle touch. I would really invite you to come and visit. Load your mental with the understanding that there’s a safe space for you in this world and you should go. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Author Anwar Bey found the clarity to write about the future once he moved to Johannesburg, South Africa.","status":"publish","parent":0,"modified":1705005505,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":684},"headData":{"title":"Pen’s Pals: Writing Sci-Fi in South Africa | KQED","description":"After a decade in the Bay Area, Author Anwar Bey found the clarity to write about the future once he moved to Johannesburg, South Africa.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"After a decade in the Bay Area, Author Anwar Bey found the clarity to write about the future once he moved to Johannesburg, South Africa.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pen’s Pals: Writing Sci-Fi in South Africa","datePublished":"2023-05-12T10:00:26.000Z","dateModified":"2024-01-11T20:38:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/A511B8/traffic.megaphone.fm/KQINC4815838840.mp3?updated=1683869472","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928997/pens-pals-writing-sci-fi-in-south-africa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>After growing up in Southern California, Anwar Bey spent his formative young adult years in San Francisco. He moved to the Bay Area to live out his dream of creating video games. Then in 2021, after spending a decade in Northern California, he moved to Johannesburg, South Africa. That’s where he’s found the clarity to write about the future.\u003c/p>\n\u003cp>Bey is the author of a series of sci-fi stories titled \u003cem>The Book of WOLDU. \u003c/em>It’s an exploration of love, family and intergalactic time travel from the perspective of an East African family.\u003c/p>\n\u003cfigure id=\"attachment_13928999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13928999 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-800x800.png\" alt=\"An image of Anwar Bey's personal Black superhero, SpaceBEY\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final-1920x1920.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/USA_sean_SpaceBEY_hoverbike-desert_terrain_final.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An illustration of Anwar Bey’s personal Black superhero, SpaceBEY \u003ccite>(Sean Usyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bey says his time spent traveling the continent, talking to people and experiencing life from a new perspective has allowed him to pen these stories and further develop his multimedia platform, \u003ca href=\"https://www.instagram.com/plasmaworlds/\" target=\"_blank\" rel=\"noopener\">PLASMAWorlds. \u003c/a>\u003c/p>\n\u003cp>When asked why it’s important to tell stories about Black futures, he jokingly responds, “Because we’re out here.” He follows up by saying, “… \u003cspan style=\"font-weight: 400\">we’re going to exist in the future just as powerfully as we exist in the present and so that’s why I’m creating this work to inspire.”\u003c/span>\u003c/p>\n\u003cp>Reflecting on what he’d tell someone about what he’s learned from his travels, Bey says, “\u003cspan style=\"font-weight: 400\">There’s love out there, and it’s just waiting for you to come and receive it.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13929000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929000 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20191201135438_8D1A6907-800x533.jpg\" alt=\"Anwar Bey sitting in the lotus position with his arms up while posing in front of a waterfall in South Africa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20191201135438_8D1A6907-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anwar Bey sitting in front of a waterfall in South Africa. \u003ccite>(Dumani Khuzwayo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4815838840&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/42Azm56\">\u003cb>Read the transcript\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Below are lightly edited excerpts from my conversation with Anwar Bey\u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">What inspired your trip?\u003c/span>\u003c/p>\n\u003cp>\u003cb>BEY:\u003c/b>\u003cspan style=\"font-weight: 400\"> I came out to South Africa in 2016. My friend Zim used to run this company that she founded called Travel Noire. It was an on-site travel group experience and I signed up. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I went to Cape Town and I had a good time with the group, but when I came to Johannesburg, that’s when it really hit me that like, oh, there’s like magic here in the form of just seeing and being within an endless sea of African people that are artists, that are entrepreneurs, that are celebrating success and struggle and just evolving. \u003c/span>\u003cspan style=\"font-weight: 400\">It was very welcoming and I never felt as connected to any place. That trip just really solidified that the continent of Africa, as a whole, is really a place that was for me. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW\u003c/b>\u003cspan style=\"font-weight: 400\">: How do you even go about creating these worlds and scenarios? How do you even make that up? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>BEY: \u003c/b>\u003cspan style=\"font-weight: 400\">I’ve been working as a professional video game developer, focused on creating 3D characters for games and animation for the past like 15 plus years, so I’m just really deep into this kind of entertainment, science fiction stories, cinematic visuals. I think it’s a mix of that and my travels. Through my travels I see the breadth of humanity. I see humanity’s highs and I see humanity’s lows, and I see the in-betweens. \u003c/span>\u003c/p>\n\u003cp>\u003cb>HARSHAW: \u003c/b>\u003cspan style=\"font-weight: 400\">If you were to send a letter to back home, what message would you share with people?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>BEY\u003c/b>\u003cspan style=\"font-weight: 400\">: I think that for the people that are considered Black and struggle, it’s because home is on the continent. It’s the place where you will be surrounded by people that look to you in the form of interest and intrigue, with care and love and with gentle touch. I would really invite you to come and visit. Load your mental with the understanding that there’s a safe space for you in this world and you should go. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928997/pens-pals-writing-sci-fi-in-south-africa","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_4976","arts_20223","arts_6764","arts_3797","arts_3539"],"featImg":"arts_13928998","label":"arts_8720"},"arts_13927453":{"type":"posts","id":"arts_13927453","meta":{"index":"posts_1591205157","site":"arts","id":"13927453","score":null,"sort":[1680858031000]},"guestAuthors":[],"slug":"rightnowish-presents-pens-pals","title":"Rightnowish Presents: Pen's Pals","publishDate":1680858031,"format":"standard","headTitle":"Rightnowish Presents: Pen’s Pals | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>Dear Rightnowish listeners,\u003c/p>\n\u003cp>As you know by now, I love a good story.\u003c/p>\n\u003cp>Especially tales of Black folks experiencing intergalactic romance. Have you ever heard someone wax poetically about the significance of the sport of wrestling in Iran? Has anyone ever told you about the calls to prayer in Kuwait, and how they answer their spiritual sojourn? What about the sound of new acquaintances dipping into a freezing pond on a crisp morning in England?\u003c/p>\n\u003cp>These slices of life are elements of our latest series of stories from the Rightnowish team, called Pen’s Pals.\u003c/p>\n\u003cp>We spent five weeks talking to people I know from different areas of my life, who’ve all spent formative years in the Bay Area but are now living outside of the United States. The idea started off as a cheeky joke when I pitched it to the Rightnowish team:\u003c/p>\n\u003cp>\u003cem>I’ll ask people what caused them to move, how their perspectives have changed and what they’d say if they could write letters to folks back home. And since my name is Pen, we’ll call it Pen’s Pals. \u003c/em>\u003c/p>\n\u003cp>The wry comedy ended just minutes into the first interview.\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">, an East Bay photographer I’ve known for over a decade, opened up about some traumatic events he’s experienced and his current path toward healing. Before moving to Mexico, Nechodom, who was raised in Richmond, experienced armed robbery as a kid, and lost a close friend to homicide as a young adult. Nechodom is also a survivor of the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener\">Oakland Ghostship Fire\u003c/a>, a tragedy that took the lives of 36 people in 2016. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Healing and transformation, family and art were present in every interview in this series. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927461\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg\" alt=\"Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n-160x128.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \u003ccite>(Aïdah Aaliyah Rasheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/aidahrasheed/\">\u003cb>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3065902373&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n Aïdah Aaliyah Rasheed\u003c/b>\u003c/a>\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> a photographer, filmmaker and curator for \u003c/span>\u003ca href=\"https://www.instagram.com/sapelosquare/\">\u003cspan style=\"font-weight: 400\">Sapelo Square\u003c/span>\u003c/a>, is an artist\u003cspan style=\"font-weight: 400\"> I’ve also known for about a decade. She shared with us what it’s like to live in Kuwait, where her workplace covers her rent. As a married mother of two and a high school educator, she says it’s a major game changer for someone who spent her whole adult life navigating the Northern Californian housing market. “What’s nice about not having to think about that,” says Rasheed of living rent-free, “is that you can think about other things, you know, and investing money towards other experiences like traveling.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg\" alt=\"Toby Brothers stops for a photo while standing on a bridge in England. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toby Brothers stops for a photo while standing on a bridge in Paris. \u003ccite>(Via Toby Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8777233494&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003ca style=\"color: #41a62a\" href=\"https://www.litsalon.co.uk/\">\u003cb>Toby Brothers\u003c/b>\u003c/a> is another person who has left the U.S. and fallen in love with traveling the world. After working as an educator at the East Bay high school I graduated from, she initially left for Paris before moving to the United Kingdom, where she became the founder\u003cspan style=\"font-weight: 400\"> and director of the \u003c/span>\u003ca href=\"https://www.instagram.com/londonliterarysalon/\">\u003cspan style=\"font-weight: 400\">London Literary Salon. \u003c/span>\u003c/a>The organization, i\u003cspan style=\"font-weight: 400\">n its simplest form, is a book club with a twist. They meet in-person or virtually, discuss classic works of literature and sometimes they take trips to locations mentioned in the stories. When asked what she’d share with people from her travels, Brothers advised: \u003c/span>\u003cspan style=\"font-weight: 400\">“Go not for the world to entertain you, but for you to understand how small your own experience is.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927464 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC05094-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094.jpg 1479w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3261423808&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003c/a>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">Mohammad Gorjestani\u003c/a>, \u003c/strong>a Bay Area filmmaker and head of \u003ca href=\"https://evenodd.studio/\" target=\"_blank\" rel=\"noopener\">Even/ Odd Studios\u003c/a>, was raised in San Jose and now lives in San Francisco. But in his heart, his birthplace of Iran holds just as much significance as the place where he was raised. Although he hasn’t visited Iran since leaving in the early 2000s, \u003cspan style=\"font-weight: 400\">Gorjestani has made it a practice to collect art and artifacts from Iran, some of which he goes to extensive measures to procure. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927465 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4815838840&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003cstrong>\u003ca href=\"https://www.instagram.com/anwarbey/\">Anwar Bey-Taylor\u003c/a> \u003c/strong>was raised in Southern California before spending a significant amount of his adult life in San Francisco, where he worked as a video game designer. After a few trips to an assorted list of countries on the continent of Africa, Bey-Taylor says he’s found home in South Africa. While there, he’s using the inspiration to fuel his writing, as he works on a series of stories for his \u003ca href=\"https://www.instagram.com/plasmaworlds/\" target=\"_blank\" rel=\"noopener\">PLASMAWorlds platform\u003c/a>, called \u003cem>the Book of WOLDU.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, I’m a fan of a good story. Especially one that broadens your worldview, localizes global issues, makes foreign places more familiar and allows you to get to know your neighbors– even if they live on the other side of the world. Yeah, that’s what these stories have brought forth for me, and I hope it provides the same service for you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace, \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pendarvis Harshaw\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A series of conversations with people who are connected to the Bay Area but are now living abroad.","status":"publish","parent":0,"modified":1705005656,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":922},"headData":{"title":"Rightnowish Presents: Pen's Pals | KQED","description":"A series of conversations with people who are connected to the Bay Area but are now living abroad.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rightnowish Presents: Pen's Pals","datePublished":"2023-04-07T09:00:31.000Z","dateModified":"2024-01-11T20:40:56.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"subhead":"Five stories of folks who spent formative years in the Bay, but have lives outside of the United States","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13927453/rightnowish-presents-pens-pals","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Rightnowish listeners,\u003c/p>\n\u003cp>As you know by now, I love a good story.\u003c/p>\n\u003cp>Especially tales of Black folks experiencing intergalactic romance. Have you ever heard someone wax poetically about the significance of the sport of wrestling in Iran? Has anyone ever told you about the calls to prayer in Kuwait, and how they answer their spiritual sojourn? What about the sound of new acquaintances dipping into a freezing pond on a crisp morning in England?\u003c/p>\n\u003cp>These slices of life are elements of our latest series of stories from the Rightnowish team, called Pen’s Pals.\u003c/p>\n\u003cp>We spent five weeks talking to people I know from different areas of my life, who’ve all spent formative years in the Bay Area but are now living outside of the United States. The idea started off as a cheeky joke when I pitched it to the Rightnowish team:\u003c/p>\n\u003cp>\u003cem>I’ll ask people what caused them to move, how their perspectives have changed and what they’d say if they could write letters to folks back home. And since my name is Pen, we’ll call it Pen’s Pals. \u003c/em>\u003c/p>\n\u003cp>The wry comedy ended just minutes into the first interview.\u003c/p>\n\u003cfigure id=\"attachment_13927462\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC_9160-Edit.jpg\" alt=\"Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket.\" width=\"533\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC_9160-Edit-160x240.jpg 160w\" sizes=\"(max-width: 533px) 100vw, 533px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Nechodom poses for a photo while wearing a beanie hat on his head, and a mid-90s Warriors jersey under a jean jacket. \u003ccite>(KOLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2927444428&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/chris_nec/\">\u003cb>Christopher Nechodom\u003c/b>\u003c/a>\u003cspan style=\"font-weight: 400\">, an East Bay photographer I’ve known for over a decade, opened up about some traumatic events he’s experienced and his current path toward healing. Before moving to Mexico, Nechodom, who was raised in Richmond, experienced armed robbery as a kid, and lost a close friend to homicide as a young adult. Nechodom is also a survivor of the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener\">Oakland Ghostship Fire\u003c/a>, a tragedy that took the lives of 36 people in 2016. “I think the fire just opened the floodgates,” Nechodom tells me. “And it also forced me to finally get in touch with my own vulnerability and really address that trauma.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Healing and transformation, family and art were present in every interview in this series. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927461\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13927461\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg\" alt=\"Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/336914601_618543402970656_102527307289084100_n-160x128.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Aïdah Aaliyah Rasheed poses for a photo on a set of steps. \u003ccite>(Aïdah Aaliyah Rasheed)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.instagram.com/aidahrasheed/\">\u003cb>\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3065902373&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n Aïdah Aaliyah Rasheed\u003c/b>\u003c/a>\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> a photographer, filmmaker and curator for \u003c/span>\u003ca href=\"https://www.instagram.com/sapelosquare/\">\u003cspan style=\"font-weight: 400\">Sapelo Square\u003c/span>\u003c/a>, is an artist\u003cspan style=\"font-weight: 400\"> I’ve also known for about a decade. She shared with us what it’s like to live in Kuwait, where her workplace covers her rent. As a married mother of two and a high school educator, she says it’s a major game changer for someone who spent her whole adult life navigating the Northern Californian housing market. “What’s nice about not having to think about that,” says Rasheed of living rent-free, “is that you can think about other things, you know, and investing money towards other experiences like traveling.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13927463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg\" alt=\"Toby Brothers stops for a photo while standing on a bridge in England. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/5ed5f628-838b-45a8-af96-090bdb5b6bfe-2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toby Brothers stops for a photo while standing on a bridge in Paris. \u003ccite>(Via Toby Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8777233494&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003ca style=\"color: #41a62a\" href=\"https://www.litsalon.co.uk/\">\u003cb>Toby Brothers\u003c/b>\u003c/a> is another person who has left the U.S. and fallen in love with traveling the world. After working as an educator at the East Bay high school I graduated from, she initially left for Paris before moving to the United Kingdom, where she became the founder\u003cspan style=\"font-weight: 400\"> and director of the \u003c/span>\u003ca href=\"https://www.instagram.com/londonliterarysalon/\">\u003cspan style=\"font-weight: 400\">London Literary Salon. \u003c/span>\u003c/a>The organization, i\u003cspan style=\"font-weight: 400\">n its simplest form, is a book club with a twist. They meet in-person or virtually, discuss classic works of literature and sometimes they take trips to locations mentioned in the stories. When asked what she’d share with people from her travels, Brothers advised: \u003c/span>\u003cspan style=\"font-weight: 400\">“Go not for the world to entertain you, but for you to understand how small your own experience is.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927464 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/DSC05094-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/DSC05094.jpg 1479w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3261423808&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003c/a>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.instagram.com/mohammadnonprophet/\">Mohammad Gorjestani\u003c/a>, \u003c/strong>a Bay Area filmmaker and head of \u003ca href=\"https://evenodd.studio/\" target=\"_blank\" rel=\"noopener\">Even/ Odd Studios\u003c/a>, was raised in San Jose and now lives in San Francisco. But in his heart, his birthplace of Iran holds just as much significance as the place where he was raised. Although he hasn’t visited Iran since leaving in the early 2000s, \u003cspan style=\"font-weight: 400\">Gorjestani has made it a practice to collect art and artifacts from Iran, some of which he goes to extensive measures to procure. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927465 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/20191129153252_8D1A4120-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC4815838840&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n \u003cstrong>\u003ca href=\"https://www.instagram.com/anwarbey/\">Anwar Bey-Taylor\u003c/a> \u003c/strong>was raised in Southern California before spending a significant amount of his adult life in San Francisco, where he worked as a video game designer. After a few trips to an assorted list of countries on the continent of Africa, Bey-Taylor says he’s found home in South Africa. While there, he’s using the inspiration to fuel his writing, as he works on a series of stories for his \u003ca href=\"https://www.instagram.com/plasmaworlds/\" target=\"_blank\" rel=\"noopener\">PLASMAWorlds platform\u003c/a>, called \u003cem>the Book of WOLDU.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, I’m a fan of a good story. Especially one that broadens your worldview, localizes global issues, makes foreign places more familiar and allows you to get to know your neighbors– even if they live on the other side of the world. Yeah, that’s what these stories have brought forth for me, and I hope it provides the same service for you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace, \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Pendarvis Harshaw\u003c/span>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927453/rightnowish-presents-pens-pals","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_1494","arts_5573","arts_20223","arts_6764","arts_3539","arts_5292"],"featImg":"arts_13927460","label":"arts_8720"},"arts_13871268":{"type":"posts","id":"arts_13871268","meta":{"index":"posts_1591205157","site":"arts","id":"13871268","score":null,"sort":[1576013203000]},"guestAuthors":[],"slug":"miss-universe-2019-is-gifted-outspoken-and-all-about-black-girl-magic","title":"Miss Universe 2019 is Gifted, Outspoken and All About 'Black Girl Magic'","publishDate":1576013203,"format":"standard","headTitle":"Miss Universe 2019 is Gifted, Outspoken and All About ‘Black Girl Magic’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Yes, the Miss Universe pageant has its share of detractors. There is, for example, that swimsuit competition.\u003c/p>\n\u003cp>But then there is this year’s winner to consider: Zozibini Tunzi of South Africa.\u003c/p>\n\u003cp>When Tunzi was crowned as the winner of the 2019 Miss Universe competition on Sunday night, she took a moment to speak about the importance of shifting antiquated beauty standards—and finally celebrating “black girl magic.”\u003c/p>\n\u003cp>“I grew up in a world where a woman who looks like me—with my kind of skin and my kind of hair—was never considered to be beautiful,” the 26-year-old said during her closing statement. “I think it is time that stops today. I want children to look at me and see my face, and I want them to see their faces reflected in mine.”\u003c/p>\n\u003cp>Tunzi is the pageant’s first black winner in eight years, since Leila Lopes from Angola took home the crown in 2011. In her official Miss Universe \u003ca href=\"https://www.missuniverse.com/titleholder/1000734\">bio\u003c/a>, the 26-year-old is described as a strong proponent of natural beauty who “encourages women to love themselves as they are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She wore her hair in a natural, short style during the competition, which she \u003ca href=\"https://twitter.com/Official_MissSA/status/1203913238943031296\">said\u003c/a> was “a symbol of my firm belief in fair representation.”\u003c/p>\n\u003cp>Even her outfit in the national costume segment reflected her beliefs. Tunzi had asked South African men to demonstrate their solidarity with the gender equality campaign #HeforShe by writing letters to honor and celebrate South African women. The letters, written on colorful ribbons, were woven into her costume, which was called “Wave of Love.”\u003c/p>\n\u003cp>Her coronation at Tyler Perry Studios in Atlanta received a wide amount of social media support and celebration from around the world, with people noting how exciting it is to see that Miss America, Miss Teen USA, Miss USA and now Miss Universe are all black women this year.\u003c/p>\n\u003cp>https://twitter.com/Essence/status/1204026870301413377\u003c/p>\n\u003cp>She was also applauded for her thoughtful answers during the pageant on climate change and leadership.\u003c/p>\n\u003cp>https://twitter.com/zozitunzi/status/1203930667316371457\u003c/p>\n\u003cp>During the Top 5 question and answer segment, Tunzi stated that individuals, government leaders and corporations should all be taking action toward protecting the planet, noting that it’s time adults listen to young children who have taken part in climate strikes and protests.\u003c/p>\n\u003cp>https://twitter.com/MissUniverse/status/1203864288819064833?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1203864288819064833&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fgoatsandsoda%2F2019%2F12%2F09%2F786312377%2Fmiss-universe-2019-is-young-gifted-and-an-outspoken-believer-in-black-girl-magic\u003c/p>\n\u003cp>“Since sixth grade, I’ve been learning that the climate is deteriorating and the planet is dying, and it is up to us to keep our planet safe,” she said.\u003c/p>\n\u003cp>When asked what she thinks is the most important thing young girls should be taught today, Tunzi responded: “I think the most important thing … is leadership.”\u003c/p>\n\u003cp>“It’s something that has been lacking in young women and girls for a very long time, not because we don’t want to but because of what society has labeled women to be,” she added. “I think we are the most powerful beings in the world and that we should be given every opportunity. And that is what we should be teaching these young girls—to take up space.”\u003c/p>\n\u003cp>Her response was retweeted by Oprah Winfrey, who agreed with the sentiment and extended an invitation for Tunzi to visit the Oprah Winfrey Leadership Academy for Girls.\u003c/p>\n\u003cp>https://twitter.com/Oprah/status/1203888524107436032\u003c/p>\n\u003cp>Additionally, a clip of Tunzi addressing gender-based violence during the Miss South Africa competition began making the rounds on Twitter as people congratulated her on her new title.\u003c/p>\n\u003cp>https://twitter.com/theklmanuel/status/1204001146571878400\u003c/p>\n\u003cp>In the video, a presenter asked what reason South African women have to keep smiling despite facing challenges like emotional, physical and economic abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have absolutely no reason to keep smiling because South African women are dying everyday and mostly people are doing nothing about it,” Tunzi replied. “I think it’s time that we stop asking women what to do and start asking perpetrators to do better, to be better, to start treating women the way that they deserve to be treated.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Miss+Universe+2019+Is+Young%2C+Gifted+And+An+Outspoken+Believer+In+%27Black+Girl+Magic%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Zozibini Tunzi of South Africa speaks out on \"natural\" beauty, gender equality and climate change. ","status":"publish","parent":0,"modified":1705021697,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":751},"headData":{"title":"Miss Universe 2019 is Gifted, Outspoken and All About 'Black Girl Magic' | KQED","description":"Zozibini Tunzi of South Africa speaks out on "natural" beauty, gender equality and climate change. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Miss Universe 2019 is Gifted, Outspoken and All About 'Black Girl Magic'","datePublished":"2019-12-10T21:26:43.000Z","dateModified":"2024-01-12T01:08:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Elijah Nouvelage","nprByline":"Isabella Gomez Sarmiento","nprImageAgency":"Reuters","nprStoryId":"786312377","nprApiLink":"http://api.npr.org/query?id=786312377&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/goatsandsoda/2019/12/09/786312377/miss-universe-2019-is-young-gifted-and-an-outspoken-believer-in-black-girl-magic?ft=nprml&f=786312377","nprRetrievedStory":"1","nprPubDate":"Tue, 10 Dec 2019 10:31:00 -0500","nprStoryDate":"Mon, 09 Dec 2019 14:45:01 -0500","nprLastModifiedDate":"Tue, 10 Dec 2019 10:31:33 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13871268/miss-universe-2019-is-gifted-outspoken-and-all-about-black-girl-magic","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, the Miss Universe pageant has its share of detractors. There is, for example, that swimsuit competition.\u003c/p>\n\u003cp>But then there is this year’s winner to consider: Zozibini Tunzi of South Africa.\u003c/p>\n\u003cp>When Tunzi was crowned as the winner of the 2019 Miss Universe competition on Sunday night, she took a moment to speak about the importance of shifting antiquated beauty standards—and finally celebrating “black girl magic.”\u003c/p>\n\u003cp>“I grew up in a world where a woman who looks like me—with my kind of skin and my kind of hair—was never considered to be beautiful,” the 26-year-old said during her closing statement. “I think it is time that stops today. I want children to look at me and see my face, and I want them to see their faces reflected in mine.”\u003c/p>\n\u003cp>Tunzi is the pageant’s first black winner in eight years, since Leila Lopes from Angola took home the crown in 2011. In her official Miss Universe \u003ca href=\"https://www.missuniverse.com/titleholder/1000734\">bio\u003c/a>, the 26-year-old is described as a strong proponent of natural beauty who “encourages women to love themselves as they are.”\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>She wore her hair in a natural, short style during the competition, which she \u003ca href=\"https://twitter.com/Official_MissSA/status/1203913238943031296\">said\u003c/a> was “a symbol of my firm belief in fair representation.”\u003c/p>\n\u003cp>Even her outfit in the national costume segment reflected her beliefs. Tunzi had asked South African men to demonstrate their solidarity with the gender equality campaign #HeforShe by writing letters to honor and celebrate South African women. The letters, written on colorful ribbons, were woven into her costume, which was called “Wave of Love.”\u003c/p>\n\u003cp>Her coronation at Tyler Perry Studios in Atlanta received a wide amount of social media support and celebration from around the world, with people noting how exciting it is to see that Miss America, Miss Teen USA, Miss USA and now Miss Universe are all black women this year.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1204026870301413377"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>She was also applauded for her thoughtful answers during the pageant on climate change and leadership.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1203930667316371457"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>During the Top 5 question and answer segment, Tunzi stated that individuals, government leaders and corporations should all be taking action toward protecting the planet, noting that it’s time adults listen to young children who have taken part in climate strikes and protests.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1203864288819064833"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Since sixth grade, I’ve been learning that the climate is deteriorating and the planet is dying, and it is up to us to keep our planet safe,” she said.\u003c/p>\n\u003cp>When asked what she thinks is the most important thing young girls should be taught today, Tunzi responded: “I think the most important thing … is leadership.”\u003c/p>\n\u003cp>“It’s something that has been lacking in young women and girls for a very long time, not because we don’t want to but because of what society has labeled women to be,” she added. “I think we are the most powerful beings in the world and that we should be given every opportunity. And that is what we should be teaching these young girls—to take up space.”\u003c/p>\n\u003cp>Her response was retweeted by Oprah Winfrey, who agreed with the sentiment and extended an invitation for Tunzi to visit the Oprah Winfrey Leadership Academy for Girls.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1203888524107436032"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Additionally, a clip of Tunzi addressing gender-based violence during the Miss South Africa competition began making the rounds on Twitter as people congratulated her on her new title.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1204001146571878400"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the video, a presenter asked what reason South African women have to keep smiling despite facing challenges like emotional, physical and economic abuse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have absolutely no reason to keep smiling because South African women are dying everyday and mostly people are doing nothing about it,” Tunzi replied. “I think it’s time that we stop asking women what to do and start asking perpetrators to do better, to be better, to start treating women the way that they deserve to be treated.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Miss+Universe+2019+Is+Young%2C+Gifted+And+An+Outspoken+Believer+In+%27Black+Girl+Magic%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871268/miss-universe-2019-is-gifted-outspoken-and-all-about-black-girl-magic","authors":["byline_arts_13871268"],"categories":["arts_75"],"tags":["arts_3539","arts_5422"],"affiliates":["arts_137"],"featImg":"arts_13871280","label":"arts_137"},"arts_13837319":{"type":"posts","id":"arts_13837319","meta":{"index":"posts_1591205157","site":"arts","id":"13837319","score":null,"sort":[1531945073000]},"guestAuthors":[],"slug":"nelson-mandelas-prison-letters-one-day-i-will-be-back-at-home","title":"Nelson Mandela's Prison Letters: 'One Day I Will Be Back At Home'","publishDate":1531945073,"format":"standard","headTitle":"Nelson Mandela’s Prison Letters: ‘One Day I Will Be Back At Home’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Nelson Mandela, who died in 2013, would have been 100 years old on Wednesday. A new book is out to mark the occasion, \u003cem>The Prison Letters of Nelson Mandela.\u003c/em>\u003c/p>\n\u003cp>These deeply personal letters, many to his wife, his children and his closest friends, have never previously been published.\u003c/p>\n\u003cp>They were compiled by Sahm Venter, a senior researcher at the Nelson Mandela Foundation. Born in Johannesburg, Venter worked as a journalist for 20 years, reporting on South Africa and its struggles with apartheid. She and I worked together at The Associated Press in 1990 when Mandela was released from 27 years in prison.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/629742101/629896571\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Venter spoke to NPR recently about the book. These interview highlights have been edited for length and clarity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nelson Mandela never liked to talk about personal matters. When you would ask him these kinds of questions, he would always steer the conversation somewhere else. What did you learn about him with these letters?\u003c/strong>\u003c/p>\n\u003cp>There was so many things that happened in prison that were devastating to him. The separation from his children, the death of his mother, the death of his son. So I don’t think he could be guarded.\u003c/p>\n\u003cp>\u003cstrong>What did he say after he lost his mother, and then a year later, his eldest son?\u003c/strong>\u003c/p>\n\u003cp>He wrote to family members thanking them for burying [his mother], for going to the funeral, for attending to all of the things that he should have attended to as the son.\u003c/p>\n\u003cp>His son Tembi got killed in a car accident in July 1969 and he has said that he applied for permission to go to his funeral. Not only was it denied, but [prison authorities] didn’t even write back to tell him it was denied.\u003c/p>\n\u003cp>People who were in prison with him said that he was very quiet. He sat in his cell and he wrapped a blanket extremely tightly around his shoulders, I suppose almost like a missing hug, and just sat there quietly for as long as he could.\u003c/p>\n\u003cp>\u003cstrong>Mandela had two daughters with Winnie Mandela and they were just ages 3 and 1 when he went to prison. They weren’t even allowed to see him until they were 16, so the only way he could really be a parent was through his letters. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13837321 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg\" alt=\"\" width=\"394\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-375x571.jpg 375w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp>He had to try and be a father by remote control and I guess when [the girls] were really small they had little bits read to them. And then when they were older they were allowed to write letters and receive them.\u003c/p>\n\u003cp>Zindzi, his youngest daughter, visited him from the age of 16. Later on, when they were allowed a contact visit, she couldn’t believe how tall he was because all of the time that she was able to visit him, he was sitting down, and she didn’t realize how tall he was.\u003c/p>\n\u003cp>\u003cstrong>I’d like you to read one of the letters he wrote to his daughters, from 1969. So they were maybe 10 or 11 years old at the time.\u003c/strong>\u003c/p>\n\u003cp>“Zindzi says her heart is sore because I’m not at home and wants to know when I will come back. I do not know my darlings when I will return. You will remember that in the letter I wrote in 1966 I told you that the white judge said I should stay in jail for the rest of my life. It may be long before I come back. It may be soon. Nobody knows when it will be. Not even the judge who said I should be kept here but I am certain that one day I will be back at home to live in happiness with you until the end of my days.”\u003c/p>\n\u003cp>\u003cstrong>Sahm, you work at the Mandela Foundation so you have access to his documents. But these very private letters were scattered all over the place. How did you track them down?\u003c/strong>\u003c/p>\n\u003cp>There’s a large number of letters at the \u003ca href=\"http://www.national.archives.gov.za/\">National Archives\u003c/a> [of South Africa], which received them after the transition from apartheid. They kept boxes and boxes of his entire prison record.\u003c/p>\n\u003cp>There were also letters from what we called the Donald Card collection, named for a policeman who had them.\u003c/p>\n\u003cp>In 1971, these three hardcover notebooks that [Mandela] used to write copies of his letters, suddenly disappeared from Mandela’s cell on Robben Island [prison].\u003c/p>\n\u003cp>Nobody knew where they were until 2004, when this former policeman contacted the Nelson Mandela Foundation and said, “I have these books.” He said he was given them for safekeeping by somebody at some stage. But he then donated them back to Nelson Mandela.\u003c/p>\n\u003cp>\u003cstrong>What was your most surprising find in these letters?\u003c/strong>\u003c/p>\n\u003cp>There was a letter in one of the prison boxes. It was a beautiful letter written to his daughter Zindzi, probably for her 18th or 19th birthday, and her birthday is in December. And it was clearly never sent. There was a note from prison officials saying, “The prisoner does not have permission to send a letter with a Christmas card.” So they just didn’t send it. I contacted Zindzi and told her about it. She had no idea about it. So all these years later she got her letter.\u003c/p>\n\u003cp>\u003cstrong>Several years after Mandela got out of prison, he went back to Robben Island where he’d been held for so many years. You went with him. What did he tell you on that visit?\u003c/strong>\u003c/p>\n\u003cp>I was fascinated by the fact that every afternoon at 3:30, they would lock the doors and the prisoners would be in those single cells until about 5:30 the next morning. So I asked him, “What did he do when he was locked away like this every day.” And he said, “I read and I wrote letters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So he spent a lot of time and effort on those letters. They were beautifully written full of detail and essentially he poured his heart into them.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nelson+Mandela%27s+Prison+Letters%3A+%27One+Day+I+Will+Be+Back+At+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"The late South African leader would have turned 100 on Wednesday. As part of the commemorations, a new book brings together many of the deeply personal letters he wrote during his 27 years in prison.","status":"publish","parent":0,"modified":1705027476,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1024},"headData":{"title":"Nelson Mandela's Prison Letters: 'One Day I Will Be Back At Home' | KQED","description":"The late South African leader would have turned 100 on Wednesday. As part of the commemorations, a new book brings together many of the deeply personal letters he wrote during his 27 years in prison.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nelson Mandela's Prison Letters: 'One Day I Will Be Back At Home'","datePublished":"2018-07-18T20:17:53.000Z","dateModified":"2024-01-12T02:44:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Greg Myre","nprStoryId":"629742101","nprApiLink":"http://api.npr.org/query?id=629742101&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/07/17/629742101/nelson-mandelas-prison-letters-one-day-i-will-be-back-at-home?ft=nprml&f=629742101","nprRetrievedStory":"1","nprPubDate":"Wed, 18 Jul 2018 12:48:00 -0400","nprStoryDate":"Tue, 17 Jul 2018 18:03:00 -0400","nprLastModifiedDate":"Wed, 18 Jul 2018 12:48:29 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/07/20180717_atc_nelson_mandelas_prison_letters_one_day_i_will_be_back_at_home.mp3?orgId=1&topicId=1126&d=271&p=2&story=629742101&ft=nprml&f=629742101","nprAudioM3u":"http://api.npr.org/m3u/1629896571-7310e3.m3u?orgId=1&topicId=1126&d=271&p=2&story=629742101&ft=nprml&f=629742101","path":"/arts/13837319/nelson-mandelas-prison-letters-one-day-i-will-be-back-at-home","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/07/20180717_atc_nelson_mandelas_prison_letters_one_day_i_will_be_back_at_home.mp3?orgId=1&topicId=1126&d=271&p=2&story=629742101&ft=nprml&f=629742101","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nelson Mandela, who died in 2013, would have been 100 years old on Wednesday. A new book is out to mark the occasion, \u003cem>The Prison Letters of Nelson Mandela.\u003c/em>\u003c/p>\n\u003cp>These deeply personal letters, many to his wife, his children and his closest friends, have never previously been published.\u003c/p>\n\u003cp>They were compiled by Sahm Venter, a senior researcher at the Nelson Mandela Foundation. Born in Johannesburg, Venter worked as a journalist for 20 years, reporting on South Africa and its struggles with apartheid. She and I worked together at The Associated Press in 1990 when Mandela was released from 27 years in prison.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/629742101/629896571\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Venter spoke to NPR recently about the book. These interview highlights have been edited for length and clarity.\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>Nelson Mandela never liked to talk about personal matters. When you would ask him these kinds of questions, he would always steer the conversation somewhere else. What did you learn about him with these letters?\u003c/strong>\u003c/p>\n\u003cp>There was so many things that happened in prison that were devastating to him. The separation from his children, the death of his mother, the death of his son. So I don’t think he could be guarded.\u003c/p>\n\u003cp>\u003cstrong>What did he say after he lost his mother, and then a year later, his eldest son?\u003c/strong>\u003c/p>\n\u003cp>He wrote to family members thanking them for burying [his mother], for going to the funeral, for attending to all of the things that he should have attended to as the son.\u003c/p>\n\u003cp>His son Tembi got killed in a car accident in July 1969 and he has said that he applied for permission to go to his funeral. Not only was it denied, but [prison authorities] didn’t even write back to tell him it was denied.\u003c/p>\n\u003cp>People who were in prison with him said that he was very quiet. He sat in his cell and he wrapped a blanket extremely tightly around his shoulders, I suppose almost like a missing hug, and just sat there quietly for as long as he could.\u003c/p>\n\u003cp>\u003cstrong>Mandela had two daughters with Winnie Mandela and they were just ages 3 and 1 when he went to prison. They weren’t even allowed to see him until they were 16, so the only way he could really be a parent was through his letters. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13837321 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg\" alt=\"\" width=\"394\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/9781631491177_custom-3d545a51eb47a40618eaf11459727facc63235ba-s400-c85-375x571.jpg 375w\" sizes=\"(max-width: 394px) 100vw, 394px\">\u003c/p>\n\u003cp>He had to try and be a father by remote control and I guess when [the girls] were really small they had little bits read to them. And then when they were older they were allowed to write letters and receive them.\u003c/p>\n\u003cp>Zindzi, his youngest daughter, visited him from the age of 16. Later on, when they were allowed a contact visit, she couldn’t believe how tall he was because all of the time that she was able to visit him, he was sitting down, and she didn’t realize how tall he was.\u003c/p>\n\u003cp>\u003cstrong>I’d like you to read one of the letters he wrote to his daughters, from 1969. So they were maybe 10 or 11 years old at the time.\u003c/strong>\u003c/p>\n\u003cp>“Zindzi says her heart is sore because I’m not at home and wants to know when I will come back. I do not know my darlings when I will return. You will remember that in the letter I wrote in 1966 I told you that the white judge said I should stay in jail for the rest of my life. It may be long before I come back. It may be soon. Nobody knows when it will be. Not even the judge who said I should be kept here but I am certain that one day I will be back at home to live in happiness with you until the end of my days.”\u003c/p>\n\u003cp>\u003cstrong>Sahm, you work at the Mandela Foundation so you have access to his documents. But these very private letters were scattered all over the place. How did you track them down?\u003c/strong>\u003c/p>\n\u003cp>There’s a large number of letters at the \u003ca href=\"http://www.national.archives.gov.za/\">National Archives\u003c/a> [of South Africa], which received them after the transition from apartheid. They kept boxes and boxes of his entire prison record.\u003c/p>\n\u003cp>There were also letters from what we called the Donald Card collection, named for a policeman who had them.\u003c/p>\n\u003cp>In 1971, these three hardcover notebooks that [Mandela] used to write copies of his letters, suddenly disappeared from Mandela’s cell on Robben Island [prison].\u003c/p>\n\u003cp>Nobody knew where they were until 2004, when this former policeman contacted the Nelson Mandela Foundation and said, “I have these books.” He said he was given them for safekeeping by somebody at some stage. But he then donated them back to Nelson Mandela.\u003c/p>\n\u003cp>\u003cstrong>What was your most surprising find in these letters?\u003c/strong>\u003c/p>\n\u003cp>There was a letter in one of the prison boxes. It was a beautiful letter written to his daughter Zindzi, probably for her 18th or 19th birthday, and her birthday is in December. And it was clearly never sent. There was a note from prison officials saying, “The prisoner does not have permission to send a letter with a Christmas card.” So they just didn’t send it. I contacted Zindzi and told her about it. She had no idea about it. So all these years later she got her letter.\u003c/p>\n\u003cp>\u003cstrong>Several years after Mandela got out of prison, he went back to Robben Island where he’d been held for so many years. You went with him. What did he tell you on that visit?\u003c/strong>\u003c/p>\n\u003cp>I was fascinated by the fact that every afternoon at 3:30, they would lock the doors and the prisoners would be in those single cells until about 5:30 the next morning. So I asked him, “What did he do when he was locked away like this every day.” And he said, “I read and I wrote letters.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So he spent a lot of time and effort on those letters. They were beautifully written full of detail and essentially he poured his heart into them.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nelson+Mandela%27s+Prison+Letters%3A+%27One+Day+I+Will+Be+Back+At+Home%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13837319/nelson-mandelas-prison-letters-one-day-i-will-be-back-at-home","authors":["byline_arts_13837319"],"categories":["arts_73","arts_835","arts_235"],"tags":["arts_596","arts_3539"],"featImg":"arts_13837322","label":"arts"},"arts_13819801":{"type":"posts","id":"arts_13819801","meta":{"index":"posts_1591205157","site":"arts","id":"13819801","score":null,"sort":[1516732043000]},"guestAuthors":[],"slug":"hugh-masekela-father-of-south-african-jazz-dies-at-78","title":"Hugh Masekela, Father Of South African Jazz, Dies At 78","publishDate":1516732043,"format":"standard","headTitle":"Hugh Masekela, Father Of South African Jazz, Dies At 78 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a60v-flk1OE\u003c/p>\n\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\u003c/p>\n\u003cp>https://youtu.be/D4I_9OXtKUo\u003c/p>\n\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n","blocks":[],"excerpt":"He recorded more than 40 solo albums and performed with musicians ranging from Harry Belafonte to Paul Simon. Masekela died after a prolonged battle with prostate cancer.","status":"publish","parent":0,"modified":1705028722,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":748},"headData":{"title":"Hugh Masekela, Father Of South African Jazz, Dies At 78 | KQED","description":"He recorded more than 40 solo albums and performed with musicians ranging from Harry Belafonte to Paul Simon. Masekela died after a prolonged battle with prostate cancer.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Hugh Masekela, Father Of South African Jazz, Dies At 78","datePublished":"2018-01-23T18:27:23.000Z","dateModified":"2024-01-12T03:05:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Leon Neal","nprByline":"Scott Neuman","nprImageAgency":"AP","nprStoryId":"579885226","nprApiLink":"http://api.npr.org/query?id=579885226&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/thetwo-way/2018/01/23/579885226/hugh-masekela-father-of-south-african-jazz-dies-at-78?ft=nprml&f=579885226","nprRetrievedStory":"1","nprPubDate":"Tue, 23 Jan 2018 10:10:00 -0500","nprStoryDate":"Tue, 23 Jan 2018 05:24:00 -0500","nprLastModifiedDate":"Tue, 23 Jan 2018 10:10:15 -0500","path":"/arts/13819801/hugh-masekela-father-of-south-african-jazz-dies-at-78","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\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>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\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/a60v-flk1OE'\n title='//www.youtube.com/embed/a60v-flk1OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\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/D4I_9OXtKUo'\n title='//www.youtube.com/embed/D4I_9OXtKUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13819801/hugh-masekela-father-of-south-african-jazz-dies-at-78","authors":["byline_arts_13819801"],"categories":["arts_69","arts_1564"],"tags":["arts_820","arts_1420","arts_3539","arts_20228"],"affiliates":["arts_137"],"featImg":"arts_10442895","label":"arts_137"},"arts_13818573":{"type":"posts","id":"arts_13818573","meta":{"index":"posts_1591205157","site":"arts","id":"13818573","score":null,"sort":[1515168054000]},"guestAuthors":[],"slug":"at-bampfa-colorful-portraits-tell-a-story-of-south-africa","title":"At BAMPFA, Portraits Tell a Story of South Africa's Past and Future","publishDate":1515168054,"format":"image","headTitle":"At BAMPFA, Portraits Tell a Story of South Africa’s Past and Future | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A newfound treat of walking up Berkeley’s three-block-short Center Street is the probability of peeking through BAMPFA’s large south-facing windows to see what’s up on the museum’s art wall. Taking up the entire first floor and dipping into the graded amphitheater of its basement, the art wall hosts commissioned murals and installations by artists from around the globe. \u003c/p>\n\u003cp>What you’ll find if you stroll by the museum until July of 2018 is a mural of four riveting larger-than-life portraits by South African illustrator and street artist Karabo Poppy Moletsane. At 25, Moletsane is the youngest artist yet to take up space on the art wall, which has featured projects by Qiu Zhijie, Lawrence Weiner and Terri Friedman.\u003c/p>\n\u003cfigure id=\"attachment_13818574\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg\" alt=\"Karabo Poppy Moletsane\" width=\"413\" height=\"420\" class=\"size-full wp-image-13818574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-375x381.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-64x64.jpg 64w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Karabo Poppy Moletsane \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In late November, the artist completed her portraits in warm mustards and rich blues, with a motif of organic lines that vibrate around the curves of her subject’s faces, the kinks of their hair and the folds of their clothes. “The theme that I take whenever I take photographs of people is just people I think are a good representation of where South Africa is now and where South Africa is headed as well aesthetically,” she says. \u003c/p>\n\u003cp>As such, the artist has found subjects in a fashion blogger in Johannesburg, a parishioner of the Zionist Christian Church in Pretoria, a skhothane (a member of a sartorially inclined subculture with pyromaniac tendencies who burn their barely worn designer clothes) and a sharply coiffed young man fresh out of the barbershop. Occupying most of the 60-by-25-foot wall, each of the four faces wears a focused stare, the kind demanded by an afternoon sun. \u003c/p>\n\u003cp>Moletsane explains the colorful bags under the eyes of her subjects draw a focus to their gaze and represent South Africa’s grave history of institutionalized racism and segregation. “We’re not pretending that apartheid didn’t happen,” she says, “but we’re trying to consciously be aware of the effect that it had and trying to look at a positive way to use that to then build the country as strong as it could be.” To that end, beams of light and halo-like effects emanate from her mural’s subjects.\u003c/p>\n\u003cfigure id=\"attachment_13818575\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane’s South African identity, along with the scale and contrast required by street art, shape a great part of her work. But the root of her style lies in her fascination with the idea of an African aesthetic. She admits this is not a singular concept but rather, she explains, a collection of hybridized visual vocabularies that centralize native African culture. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I can’t say these are the characteristics of an African aesthetic but there’s one common thread and it’s being able to hybridize cultures in an authentic way and in an honoring way,” she says. Her portraits at BAMPFA are evidence of this hybridity. The images are reminiscent of barbershop and hair salon signage ubiquitous across Africa, while the halos and beams come from Christian art. \u003c/p>\n\u003cp>“I was always fascinated by the Byzantine era and a lot of the saints were show with the halos behind them,” Moletsane explains. “A lot of the people that I interviewed, I draw them because I want to be able to celebrate them. This was the way to honor the saint, so I’m doing the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_13818576\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane has made a career out of projects that center on and celebrate the people of South Africa. After completing studies in illustration and visual communication, Moletsane started her own creative house, Mother Tongue in 2014. \u003c/p>\n\u003cp>“I thought if I do the norm and go into an agency, I don’t think I’m changing [the field], I don’t think I’m adding to it. I’m just doing what every person in my position would have done,” she says. One of her first projects, a 2014 zine titled \u003ci>Sho’t Left\u003c/i>, features digitally illustrated portraits of average South African citizens — from taxi drivers and hairdressers to skhothanes.\u003c/p>\n\u003cp>The mural at BAMPFA has much in common with the images in \u003ci>Sho’t Left\u003c/i>, including a new portrait of a peacekeeper, a member South Africa’s Zion Christian Church, whose striking khaki uniforms are a common sight in the country. “It’s the most beautiful uniform that I’ve ever seen and it’s something that I’ve pretty much only seen in South Africa,” Moletsane explains. “This is a group of people I’ve never seen represented in art ever. I think this is an iconic thing to South Africa that I also wanted to celebrate.” \u003c/p>\n\u003cp>Moletsane speaks about her country with devotion — the words “honor” and “celebrate” come to her easily and in succession when talking about South Africa. That devotion radiates from her mural at BAMPFA, inspiring in both its stature and details. \u003c/p>\n\u003cp>To tell the story of South Africa, Moletsane has chosen to depict the ordinary folks. Her mural holds many lessons: authenticity can permit inspiration, the ordinary citizen is an icon worthy of celebration, and most relevant for a nation like the United States, acknowledging a national past, no matter how horrific, doesn’t impede a country’s progress or pride. In fact, it just might be essential.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Art Wall: Karabo Poppy Moletsane’ is on view at the Berkeley Art Museum and Pacific Film Archive through July 15, 2018. For more information, \u003ca href=\"https://bampfa.org/program/art-wall-karabo-poppy-moletsane\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Karabo Poppy Moletsane honors the everyday people of her homeland on the museum's large-scale art wall.","status":"publish","parent":0,"modified":1705028817,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1004},"headData":{"title":"At BAMPFA, Portraits Tell a Story of South Africa's Past and Future | KQED","description":"Karabo Poppy Moletsane honors the everyday people of her homeland on the museum's large-scale art wall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"At BAMPFA, Portraits Tell a Story of South Africa's Past and Future","datePublished":"2018-01-05T16:00:54.000Z","dateModified":"2024-01-12T03:06:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13818573/at-bampfa-colorful-portraits-tell-a-story-of-south-africa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A newfound treat of walking up Berkeley’s three-block-short Center Street is the probability of peeking through BAMPFA’s large south-facing windows to see what’s up on the museum’s art wall. Taking up the entire first floor and dipping into the graded amphitheater of its basement, the art wall hosts commissioned murals and installations by artists from around the globe. \u003c/p>\n\u003cp>What you’ll find if you stroll by the museum until July of 2018 is a mural of four riveting larger-than-life portraits by South African illustrator and street artist Karabo Poppy Moletsane. At 25, Moletsane is the youngest artist yet to take up space on the art wall, which has featured projects by Qiu Zhijie, Lawrence Weiner and Terri Friedman.\u003c/p>\n\u003cfigure id=\"attachment_13818574\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg\" alt=\"Karabo Poppy Moletsane\" width=\"413\" height=\"420\" class=\"size-full wp-image-13818574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-240x244.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-375x381.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Event_Moletsane_2017-11-29_Karabo-Poppy_Moletsane_001crop-64x64.jpg 64w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Karabo Poppy Moletsane \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In late November, the artist completed her portraits in warm mustards and rich blues, with a motif of organic lines that vibrate around the curves of her subject’s faces, the kinks of their hair and the folds of their clothes. “The theme that I take whenever I take photographs of people is just people I think are a good representation of where South Africa is now and where South Africa is headed as well aesthetically,” she says. \u003c/p>\n\u003cp>As such, the artist has found subjects in a fashion blogger in Johannesburg, a parishioner of the Zionist Christian Church in Pretoria, a skhothane (a member of a sartorially inclined subculture with pyromaniac tendencies who burn their barely worn designer clothes) and a sharply coiffed young man fresh out of the barbershop. Occupying most of the 60-by-25-foot wall, each of the four faces wears a focused stare, the kind demanded by an afternoon sun. \u003c/p>\n\u003cp>Moletsane explains the colorful bags under the eyes of her subjects draw a focus to their gaze and represent South Africa’s grave history of institutionalized racism and segregation. “We’re not pretending that apartheid didn’t happen,” she says, “but we’re trying to consciously be aware of the effect that it had and trying to look at a positive way to use that to then build the country as strong as it could be.” To that end, beams of light and halo-like effects emanate from her mural’s subjects.\u003c/p>\n\u003cfigure id=\"attachment_13818575\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/faf6dc13957023.5627aed2bd3fd-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane’s South African identity, along with the scale and contrast required by street art, shape a great part of her work. But the root of her style lies in her fascination with the idea of an African aesthetic. She admits this is not a singular concept but rather, she explains, a collection of hybridized visual vocabularies that centralize native African culture. \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>“I can’t say these are the characteristics of an African aesthetic but there’s one common thread and it’s being able to hybridize cultures in an authentic way and in an honoring way,” she says. Her portraits at BAMPFA are evidence of this hybridity. The images are reminiscent of barbershop and hair salon signage ubiquitous across Africa, while the halos and beams come from Christian art. \u003c/p>\n\u003cp>“I was always fascinated by the Byzantine era and a lot of the saints were show with the halos behind them,” Moletsane explains. “A lot of the people that I interviewed, I draw them because I want to be able to celebrate them. This was the way to honor the saint, so I’m doing the same thing.”\u003c/p>\n\u003cfigure id=\"attachment_13818576\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg\" alt=\"A spread from Karabo Poppy Moletsane's 'Sho't Left,' 2014.\" width=\"600\" height=\"426\" class=\"size-full wp-image-13818576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ee199013957023.5627af22281f0-520x369.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A spread from Karabo Poppy Moletsane’s ‘Sho’t Left,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moletsane has made a career out of projects that center on and celebrate the people of South Africa. After completing studies in illustration and visual communication, Moletsane started her own creative house, Mother Tongue in 2014. \u003c/p>\n\u003cp>“I thought if I do the norm and go into an agency, I don’t think I’m changing [the field], I don’t think I’m adding to it. I’m just doing what every person in my position would have done,” she says. One of her first projects, a 2014 zine titled \u003ci>Sho’t Left\u003c/i>, features digitally illustrated portraits of average South African citizens — from taxi drivers and hairdressers to skhothanes.\u003c/p>\n\u003cp>The mural at BAMPFA has much in common with the images in \u003ci>Sho’t Left\u003c/i>, including a new portrait of a peacekeeper, a member South Africa’s Zion Christian Church, whose striking khaki uniforms are a common sight in the country. “It’s the most beautiful uniform that I’ve ever seen and it’s something that I’ve pretty much only seen in South Africa,” Moletsane explains. “This is a group of people I’ve never seen represented in art ever. I think this is an iconic thing to South Africa that I also wanted to celebrate.” \u003c/p>\n\u003cp>Moletsane speaks about her country with devotion — the words “honor” and “celebrate” come to her easily and in succession when talking about South Africa. That devotion radiates from her mural at BAMPFA, inspiring in both its stature and details. \u003c/p>\n\u003cp>To tell the story of South Africa, Moletsane has chosen to depict the ordinary folks. Her mural holds many lessons: authenticity can permit inspiration, the ordinary citizen is an icon worthy of celebration, and most relevant for a nation like the United States, acknowledging a national past, no matter how horrific, doesn’t impede a country’s progress or pride. In fact, it just might be essential.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Art Wall: Karabo Poppy Moletsane’ is on view at the Berkeley Art Museum and Pacific Film Archive through July 15, 2018. For more information, \u003ca href=\"https://bampfa.org/program/art-wall-karabo-poppy-moletsane\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818573/at-bampfa-colorful-portraits-tell-a-story-of-south-africa","authors":["11625"],"categories":["arts_70"],"tags":["arts_2227","arts_1118","arts_596","arts_769","arts_3539"],"featImg":"arts_13818587","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. 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Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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